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Production Code Administration Goes 
Into Operation on New Deal in Moral 
Supervision of Hollywood Output 


Mrs. August Belmont Resigns as 
President, While Campaigns and 
Drives of Organization Mark Time 

Two Sections — Section One^ 

1 '•>•> ihc Post Office, at New York \ V -. i,-, ■ U 

Broadway, i\'eui York. S«t'^ 




No. 22 of 
the Drake 


broke loose up 
there in the M-G-M 
Convention Hall—*' 

Later on he learned the reason. . . 250 M-G-M 
representatives heard the best news of all their 
years in motion picture business . . . news that 
will make 1934-35 a year of historic impor- 
tance ... no wonder they shouted, stamped, 
cheered . . .Thousands of exhibitors are getting 
the same big thrill as they study M-G-M's STAR 
SPANGLED BANNER . . . more great STARS 
than any previous year . . . more BIG attrac- 
tions than even M-G-M has ever undertaken 
before. March on with Leo and you'll always 
be at the head of the parade ! 

Ul/ 2rst fROM WAR4MfR BROS. 

'''lagroph, Inc., Disirlbuio- • 



-"HERE COMES THE N A V Y" - "D A M E S" - 





M 29 


Vol. 116! No. 1^ 


^ ill 




' J June 30, 1934 
llllllllll ^~f^ 


\\~T~ HERE is but one answer, and one answer only to reason- 
able objections to pictures, and that is the pictures 

That is the essence of a statement from Mr. Will Hays, 
president of the Motion Picture Producers and Distributors of 
America, Inc., issued in the aftermath of the impact of the 
Legion of Decency on the screen. 

At the moment one is reminded, too, of a statement back 
in the dark days of the depression from Mr. Nicholas M. 
Schenck, who observed in substance that: "there is nothing the 
matter with this business that good pictures can not cure." 

And that is true of more aspects of the industry, probably, 
than Mr. Schenck had in mind at the figure laden moment. 

These assertions have a certain rather obvious quality about 
them. It would seem that the simple fact might have been 
known right along, and in truth It has been, but as always a 
certain minority have brought down difficulties upon a whole 
industry hoping to elude the inevitable. "Setting-by" is the 
Hollywood word for it. 

Some months ago the writer, sitting in Hollywood, observed 
in a dry moment that some producer would make a fortune 
discovering the United States. 

The Legion of Decency expression, storming from pulpit and 
press across the nation, is one of the methods by which these 
United States expose themselves to discovery by Hollywood. 

The smart, chipper, wise-cracking young dialogue writers, 
with glib Innuendo in their pens, for all their facile craftsman- 
ship, do not know the motion picture and its public. 

It may be observed to them that while the Individual citizen 
may be considerable of a private sinner, Mr. John R. Public, 
seen in public and taken in flocks of his fellows. Is as righteous 
as Rotary and as proper as "the parlour" in a Kansas farm- 

Also, while we are recording the obvious, it seems just as 
well to set down the fact that the motion picture is a public 
institution, that it is exhibited not to individuals, sinners that 
they are, but to the public, in flocks, in the presence of fam- 
ilies and neighbors. 

And smart young men can put down words and action in a 
book printed for individual consumers with all the daring they 
like, but they can not go out to Hollywood and arrange to have 
it all done out loud from Macy's window in Herald Square, or 
any Bijou-Empress In Main Street, U. S. A. 

The problem is after all not "How to get by." 

The problem Is how to make pictures for the real market. 
In the main the Industry has done a fair job of it, otherwise 
the motion picture would not be the dominant amusement 

Recently a lot of the customers have cast a vote about some 
of the merchandise. 


HR. H. the Prince of Wales, who it seems was but yes- 
terday the world's chosen exemplification of romantic 
• youth, on Saturday last turned his fortieth birthday, 
and spent it sedately in his garden. He was born the same 
year that the Kinetoscope brought the motion picture to light. 
As a brave little lad holding the Union Jack he posed for 
Blograph In 1901, and In the years after the newreels made him 
a popular Idol. And now he has come to the middle years. 
We must be knowing now that there is a whole generation at 
hand which thinks of the world war as of a long time ago. 



HARLIE CHAPLIN Is definitely set for a film this 
year," says Motion Picture Daily, which relates that 

will be all silent. The picture as contemplated will 
industrial conditions and will present "big factory 

deal with 

sets." Naively enough the Hollwood story says that Mr. Chap 
lln has "the whole film on paper because overhead will not 
permit improvising." 

The day has come In the art of the screen when even the 
great Chaplin cannot shoot it "off the cuff." Many the odd 
million the motion picture might have saved Itself In years 
gone by recognizing the merits of preparation and the advis- 
ability of drawing plans before building. 

Mr. Chaplin's technique has been In the making now just 
twenty-one years. He became famous in Keystone's one- 
reelers at a reel a week and tremendous mass circulation. 
He became a genius In two reels for Lone-Star Mutual and 
he became wealthy In a handful of releases through First 
National. But all that was rather a long time ago, as time 
goes in the screen world. He is still the great Chaplin, but it 
will be necessary to refresh the memories of the oldsters and 
to tell the youngsters about him all over again. 


THE last time that the Selwyns went out a-hybrldlzing 
cognomens and evolving nomenclature the motion pic- 
ture Industry and the amusement world were enriched 
by the new name "Soldwyn." This week out comes No. I 
Issue of "The Theatre," a monthly, devoted to the interests of 
"Frankwyn Productions, Inc." A Harwold Frankwyn would be 
too much! 


Infantile paralysis infection is only one of the many reasons 
why so many Hollywood players should not swim in the same 


Incorporatlnq Exhibitor's Herald, founded 1915; Motion Picture News, founded 1913; Moving Picture World, founded 1907; Motogrophy, founded 1909; The Film Index, 
founded 1906. Published every Thursday by Quigley Publishing Company, 1790 Broadway, New York City. Telephone Circle 7-3100. Cable address "Quigpubco, New York." 
Martin Quigley, Editor-in-Chief and Publisher; Colvin Brown, Vice-President and General Manager; Terry Ramsaye, Editor; Ernest A. Rovelstad, Managing Editor; Chicago 
Bureau, 407 South Dearborn Street, Edwin S. Clifford, manager; Hollywood Bureau, Postal Union Life Building, Victor M. Shapiro, manager; London Bureau, Remo House, 310 
Regent Street, London W I, Bruce Allan, cable Quigpubco London; Berlin Bureau, Berl in-Tempelhof, Kaiserin-Augustastrasse 28, Joachim K. Rutenberg, representative; Paris 
Bureau, 19, Rue de la Cour-des-Noues, Paris 20e, France, Pierre Autre, representative, cable /yutre-Lacifral-20 Paris; Rome Bureau, yiole Gorizia, Rome, Italy Vittorio, Malpassuti, 
representative, Italcable, Malpassuti, Rome; Sydney Bureau, 600 George Street, Sydney, Australia, Cliff Holt, representative; Mexico City Bureau, Apartado 269, Mexico City, 
Mexico, James Lockhart, representative. Member Audit Bureau of Circulations. All contents ' copyright 1934 by CPuigley Publishing Company. ' Address all correspondence to 
the New York Office. Better Theatres, devoted to the construction, equipment and operation of ttieatres, is published every fourth week as section 2 of Motion Picture Herald. 
Other Quigley Publications: Motion Picture Daily, The Motion Picture Almanac, published annually, and The Chicagoan. 



June 30, 1934 



Meeting wifh determined opposition 
from the Motion Picture Producers' Asso- 
ciation in Hollywood is a new kind of 
racket concerning alleged film schools. 
Agents contact convalescents in hospitals, 
counting on the desire of those near re- 
covery to be "up and doing" acting as 
an incentive to a signature enrolling them 
in a film dramatic school. . . . 


Acting on innumerable exhibitor pro- 
tests, and seen as presaging a concerted 
drive by all major studios, Paramount and 
MGM have induced Mae West, Charles 
Ruggles, Mary Boland to cancel radio en- 
gagements on the Lehn and Fink Hall of 
Fame program. MGM likewise refused 
Lionel Barrymore permission to appear on 
a Campbell program. . . . 


First run situations in and about Colum- 
bus, Ohio, were vastly relieved last week 
when RKO's "The Life of Vergie Winters," 
banned earlier, was passed with few altera- 
tions. The board also had banned Para- 
mount's Mae West film, "It Ain't No Sin," 
and is holding up Warner's "Dr. Monica," 
also being delayed by the Pennsylvania 
board. The New York censor has turned 
thumbs down on "It Ain't No Sin," which 
will be remade, probably retitled. . . . 


Although Columbia obtained permis- 
sion from the Mexican government to film 
scenes of a forthcoming film in the Pacific 
port of Mazatlan, and cameraman, tech- 
nicians and directors will be allowed free- 
dom of movement, it is stipulated that 
prints of the finished sequences must go 
to Mexico City for inspection and approval. 


Again returning to active production, 
D. W. Griffith has been signed by British 
and Dominions to direct a screen version 
of Charles Dickens' famed "Old Curiosity 
Shop," last week in New York announced 
Herbert Wilcox, managing director. The 
film, starting in August, will feature an 
American star, and will be filmed largely 
in the original London settings. . . . 


The drought, censorship, general econ- 
omic problems were to be aired this week 
at a Wisconsin statewide meeting at Lake 
Geneva, called by Allied States for all In- 
dependent theatre owners, the idea being 
to form a single organization. Plans were 
to be outlined looking to a method where- 
by the independents may turn the "clean 
screen" situation to their own advan- 
tage. . . . 


Unwittingly last week was Marion Davies 
the star, by proxy, so to speak, of a bitter- 
ly dramatic story of the art world. At the 
19th International Biennial Art Exhibition in 
Venice, in the American collection from the 
Whitney Museum of American Art, sud- 
denly appeared a portrait of Miss Davies, 
done by Tada Styka. Mrs. Juliana Force, 
Whitney director, asked its removal. 
Nothing was done, and Miss Force threat- 
ened to remove the entire collection, which 
precipitated a nervous spasm through the 
art world of two continents. Miss Davies, 
calmly touring in England, seemed com- 
pletely undisturbed. . . . 


Richard West Saunders, who, a law 
graduate, went from banking to the con- 
trollershlp of the Famous-Players-Lasky Cor- 
poration in 1916, and remained through 
mergers and motion picture industry de- 
velopment until retirement in 1930, died 
last week in New York at the age of 59. A 
strangely versatile person, Mr. West 
authored several works on banking and 
economics, was the possessor of a fine 
library, wrote considerable verse, edited 
poetry anthologies. . . . 

In This Issue 

Production Code Administration goes 
into action July I on new deal in 
nnoral supervision of Hollywood output 

Research Council looking for program; 
Mrs. August Belmont in Maine "for 

Warner Bros, and Erpi settle seven-year 
court action over sound royalties 

"Grind Houses" operating in full blast 
in shadow of the Paramount theatre 



The Camera Reports 

J. C. Jenkins — His Colyum 

The Hollywood Scene 

The Cutting Room 

Letters to the Editor 

Asides and Interludes 

Productions in Work 

Code Questions and Answers 


What the Picture Did for Me 
Showmen's Reviews 
Managers' Round Table 
The Release Chart 
Box Office Receipts 
Classified Advertising 

Page 9 

Page I I 

Page 15 

Page 17 

Page 7 
Page 13 
Page 67 
Page 47 
Page 39 
Page 60 
Page 37 
Page 57 
Page 48 

Page 69 
Page 52 
Page 75 
Page 42 
Page 81 
Page 61 
Page 86 


The ingenious idea of Memphis ex- 
hibitors to evade the Sunday blue law has 
hit a snag. Opening his theatre on Sun- 
day under a restaurant license, selling 
sandwiches, drinks, with films added free, 
manager Charles Mensing of the Orpheum 
was arrested, fined. Refusing a court offer 
to drop the fine in return for a promise to 
desist, Mr. Mensing plans an appeal. . . . 


A new New Orleans taxation ordinance 
will burden theatre owners using outdoor 
advertising thus: marquees, $10 per year; 
electric signs, $5; muslin signs, $!; easel 
signs, $5; any theatre sign, $3; streamers, 
$5; weighing machines, $1.50. Neighbor- 
hood houses will pay half that rate. . . . 


Apparently destined to serve his two 
and one-half year prison sentence for bribe 
solicitation Is former Alabama state sena- 
tor Elmer D. Jordon, since his latest request 
for a state supreme court review was re- 
fused. The accusation concerned an effort 
to obtain Sunday films for Gadsden, Ala., 
in 1932. . . . 


The stage as a screen laboratory is the 
plan of 20th Century Pictures, furthered 
by the intended New York presentation of 
"The Red Cat," by Rudolph Lothar and 
Hans Adier, under the A. H. Woods ban- 
ner. Darryl Zanuck, 20th Century produc- 
tion chief, will base his screen casting on 
the play's characterizations. United Artists 
will release the film. . . . 


Three pictures, with as many companies, 
are in the offing for heavyweight cham- 
pion Max Baer, according to his own New 
York-spread story. The three, says he: 
with MGM and a marine background; a 
police yarn, for Paramount; one for Colum- 
bia. In a few weeks he starts for the 
Coast and the MGM studio. . . . 


Of real interest to exhibitors of Ohio 
should be the result of a survey by the 
Bureau of Business Research of Ohio State 
University. Graphs indicate the statewide 
employment curve moved definitely up- 
ward during May, as compared with April. 


Indicative of the return of William Gold- 
man to the exhibition scene is the Incor- 
poration, in Dover, Del., of William Gold- 
man Theatres, Inc., with capital stock of 
100 no par value shares. . . . 



June 30, 1934 


(Continued from preceding page) 

derwood's or elsewhere among the newspho- 
tographic services. 

A possibly indicative factor in the eclipse 
phenomena of the situation is the reported 
fading of the enthusiasm of Mr. George J. 
Hecht, publisher of "The Parents Maga- 
zine," who has these several years been en- 
gaged at endeavors to evolve in some man- 
ner a motion picture cause calculated to aid 
in building circulation. 

Short a Career 

In this connection it is to be observed 
that Mr. Hecht in a publicity release of the 
week announcing the forthcoming publica- 
tion of a "Movie Guide" speaks of "the wide- 
spread interest in the crusade for clean 
films sponsored by the Federal Council of 
Churches and the League of Decency" as 
inspiring his project, but he does not avail 
himself of any of the recent big publicity 
wave of the Motion Picture Research Coun- 
cil and its admirable list of hand-picked 

In a manner of speaking this does not 
denote real reciprocity, because Mr. Hecht's 
magazine supplied to the Motion Picture 
Research Council pamphlet "A NEW DAY, 
for the movies and for the children" a draw- 
ing, used for the cover, in violent indict- 
ment of the screen, depicting a lobby pre- 
senting the fictitious titles : "Machine Gun 
Joe," "The Gunman's Moll," "Mamie, Queen 
of the Mob" and "Hot Love." The titles 
are all plucked from the fancy of the artist 
Mr. Ray VanBuren, formerly of Kansas 
City and who learned about life in New 
York's West Sixty-fifth street. 

So now it seems the Motion Picture 
Council is short a career. 

Mrs. Belmont Arranges 
Washington Conference 

The Motion Picture Research Council, in 
its announcement of Mrs. Belmont's resigna- 
tion as president, declared : 

"In her statement, Mrs. Belmont said : 
'My devotion to the work is greater than 
ever, for it is apparent that right-thinking 
people everywhere now see how essential it 
is to have motion pictures improved. While 
I haven't the strength to meet the exacting 
demands of leadership, I shall continue as 
a member of the executive board of the 
Council and do everything in my power to 
advance its work. I have arranged a meet- 
ing, together with former Ambassador Alan- 
son B. Houghton, of our best research men 
and national organizers, to meet in Wash- 
ington Thursday. This conference will for- 
mulate a program to meet the unusual situa- 
tion that has arisen. With the Pope express- 
ing his condemnation in Rome, and the Pro- 
testant churches, through their Federal 
Council, supporting the Catholic position in 
this country, the need is manifest for the 
kind of coordinating work the Motion Pic- 
ture Research Council can supply. The 
meeting in Washington, therefore, has been 
arranged and a careful program will be 

■ci)ared to meet the present situation in a 

ong and constructive way.' Mrs. Bel- 



Tangible evidence of .the effect of 
the Legion of Decency movement was 
seen this week in the action of a 
Syracuse, N. Y., theatre in removing 
Sally Rand's name from the bill of the 
current show at less than 24 hours 

Miss Rand's fans had brought thun- 
derous denunciation from local clergy- 
men and civic organizations. Said 
Bishop John A. Duffy: 

"I must regard the presence of the 
Rand woman on the stage of Loew's 
State Theatre as an act of public de- 
fiance of the moral sentiment of the 
Catholic people of Syracuse." 

mont's statement was telephoned from her 
summer home in Seal Harbor, Maine, to 
Mr. Herbert S. Houston, chairman of the 
Council's Committee on Public Relations. 

"Strength Overtaxed," Says Short 

"Following the receipt of Mrs. Belmont's 
statement, the director of the Council, Mr. 
William H. Short, said: 'The officers of 
the Council have known for some weeks 
that Mrs. Belmont's strength has been seri- 
ously overtaxed by the complete abandon 
with which she had thrown herself into 
the exacting work of the Council, that she 
had been warned by her physician of a pend- 
ing breakdown if she continued her present 
pace, and that she would eventually have to 
retire from active leadership of the Council. 

" 'The Executive Committee of the Coun- 
cil held a meeting on Friday, June 22, at 
which the matter of a successor was con- 
sidered, and will meet again on Monday. 
July 9th, for the same purpose. Mrs. Bel- 
mont is cooperating with the executive com- 
mittee in the matter, and a public announce- 
ment will be made in due time. 

" 'The conference to which Mrs. Belmont 
referred will meet at the National Educa- 
tion Association Building at Washington,' 
Mr. Short said, 'and will review the whole 
matter of the objectives of the Council and 
the practical ways in which individuals and 
groups throughout the nation can further 
those objectives. The conference is com- 
posed of sociologists, psychologists, educa- 
tors and leaders in organization work. It 
convenes on Thursday morning, June 28, 
and will continue in session for several days. 

Trade Practices To Be Studied 

" 'The trade practices of the motion pic- 
ture industry which have received much 
public attention in connection with the fram- 
ing and administration of the NRA Code 
for motion pictures is another subject that 
will be studied during the summer,' Mr. 
Short said. 'The controversy on the subject 
between Dr. A. Lawrence Lowell, the honor- 
ary president of the Council, and General 
Hugh S. Johnson is still fresh in the pui)lic 

mind. The Council proposes to secure au- 
thoritative statements on these trade prac- 
tices. A research committee has been ap- 
pointed which now consists of Drs. Wesley 
C. Mitchell, chairman, Ben D. Wood, Fred- 
erick M. Thrasher, Paul D. Cressey, and 
Arthur Butler Graham, Esq., and which will 
be enlarged by the addition of other authori- 
ties. The study will be made by Mr. Graham 
under the direction of this research commit- 
tee. Mrs. Belmont and Mr. Thomas J. Wat- 
son have collaborated in the planning of this 
study of trade practices." 

" 'The general purpose of the Council." 
Mr. Short said, 'is to provide dependable 
information and wise guidance for the great 
movement towards clean films and a social 
use of the film art which has been started 
as a result of the publication and dissemina- 
tion of the findings of the Payne Fund, 
studies that were made on the Council's 
initiative, and which are now sweeping the 

" 'The Council has large chapters in New 
York, Boston, and Philadelphia and others 
either formed or forming in Hartford, 
Northampton, Richmond. Buffalo, Cleveland, 
Columbus, Cincinnati, Chicago, St. Louis, 
Kansas City, Denver, San Francisco and 
many other points.' 

"The President's mother, Mrs. James 
Roosevelt, who visited the King and Queen 
of England on Monday, and Mrs. Calvin 
Coolidge are honorary vice-presidents of the 
Council. The active vice-presidents are Dr. 
Henry Sloane Coftin, Dr. Henry Fairfield 
Osborn, Prof. E. R. A. Seligman and Rabbi 
Stephen S. Wise." 

Skinner Defends Censor 

Defending the etTorts of the Ohio censors 
as doing "the best they could," Dr. Beverly 
O. Skinner, state director of education, and 
head of the censor board, last week pre- 
dicted a new era in pictures in which there 
will be less objectionable material. Com- 
menting on the pastoral of Bishop Joseph 
Schrembs, of the Cleveland Catholic dio- 
cese, who asserted that the feeble efforts of 
censors "have been so pitiable that the flood 
of indecent films has continued unabated," 
Dr. Skinner said he was entirely in sym- 
pathy with the general movement among 
both Catholic and Protestant churches to 
arouse public sentiment against indecent 

Censor Likely in Oklahonna City 

it appeared like1\- this week that a new 
board of censors to preview ])ictures ex- 
hibited in Oklahoma City would be formed 
soon. Pat RicGee, district manager for 
Standard Theatres, said he and Bishop 
Francis C. Kelly of the Oklahoma City and 
Tulsa diocese have been conferring on plans 
for llie new board. 

Allied Asks Clean Films 

.\t a si)ecial meeting ot its directors in 
Des Moines, Allied Theatre Owners of Iowa 
and Nebraska last week went on record for 
"clean pictures only." Regional meetings 
are being arranged to discuss cooperation 
with church groups. 

June 30, 1934 




Outgoing President Cites "New 
Responsibilities" in Churches' 
Campaign on Films; Con- 
tinues on Executive Board 


That recent ball of fire in the motion pic- 
ture sky, the Motion Picture Research Coun- 
cil, is now in a state of eclipse, publicity 
eclipse, covered by the swift rise of the 
Legion of Decency campaign. 

And true to the attendant phenomena of 
eclipses, there are special revelations avail- 
able in the corona and shadows, to the eye 
of the observer. 

In the midst of the current period of 
totality, emerge most persistent intima- 
tions and indications that cosmic changes 
threaten. Conjectures and reports abound 
that Mrs. August Belmont, of social grace 
and fame, third to be cast in the role of 
president of the Council, is on the verge 
of resignation from that post. Further it 
is admitted, without, most insistently with- 
out, explanation, that the "financial consult- 
ants," the celebrated firm of Tamblyn & 
Brown, fund raisers, not so long ago 
brought to the service of the Council by 
Dr. Short, are no longer serving it. 

Further here and there among the adher- 
ents and members of the Council organiza- 
tion, including some of its most ardent sup- 
porters, appear signs of disaffection, and 
covert expressions of doubting with signifi- 
cantly secretive shakings of the head. Those 
whose special personal causes and aims 
might have been tied in hope to the program 
of the Research Council are apparently be- 
ginning to wonder what that program can 
be now that the Legion of Decency cam- 
paign has swept the scene, and has in fact 
come to what might well be a superseding 
understanding with the motion picture in- 
dustry pertaining to the whole broad sub- 

Crystallization Doesn't Crystallize 

Dr. Short's proclamations of the aims and 
purposes of the Council, in sum the crystal- 
lization of a public demand for motion pic- 
tures of improved social and moral status 
and influence, when recalled today does not 
itself crystallize and come to focus. The 
crystallization of public demand is a hazy 
objective alongside the demonstration of de- 
cisive action and influence by that somewhat 
older social and religious organization — The 

The motion picture industry, through the 
Production Code Administration and its un- 
derstanding with and assurances to the 
Episcopal Committee, finds itself, in the 
current moral issues of the screen, before 
the public on a considerably firmer footing 
and with a still maintained principle of self- 
regulation, but such program as the Motion 
Picture Research Council offered gave no 
prospect of any kindred adjustment. 

It would appear that still today, at the 

The Motion Picture Research 
Council announced late Wednes- 
day night that Mrs. August Bel- 
mont had resigned as president 
"because of the new and in- 
creased responsibilities that have 
been quickly developing since the 
Catholic Church and the Federal 
Council of Churches have begun 
their aggressive campaign 
against objectionable motion pic- 

admitted end of its "researches" with the 
publication of many volumes of findings, the 
Council is by circumstance left still with the 
problem with which it was born — how and 
why to exist. 

As has been set forth in the pages of 
Motion Picture Herald in months past, 
a considerable part of the reason for the 
existence of the Motion Picture Research 
Council would appear to be to supply a 
career and activity for its staff, headed by 
Dr. William Harrison Short, whose own 
"Who's Who in America" biography shows 
him to be a person of many, many move- 
ments, causes and most frequent changes of 

That autobiography, by the by, does 
overlook or ignore the merry action epi- 
sode wherein it is related that Dr. Short 
hit so high a mark in bristling discipline and 
efficiency as business manager of Rollins 
College in Florida that the students tossed 
him into the park lake and thereafter kept 
his motor tires in a constant state of punc- 
ture until he sought other fields. 

Some months ago it was permitted to be- 
come known that the Research Council had 
exhausted its share of the Payne Fund and 
that it would be necessary to take steps in 
quest of financial support. The financial 
consultants Tamblyn & Brown were retained. 
Tamblyn & Brown is famous for its service 
to imposing organizations and movements 
of high status. It is said to have numbered 
among its causes the imposing Cathedral of 
St. John the Divine, in New York. The ob- 
jective of the new Research drive was said 
to be a fund of $200,000, for carrying for- 
ward the work. The program, as it then 
stood, was understood to contemplate the or- 
ganization of a nationwide machine of sub- 
sidiary chapters or councils, which would 
be in effect considerably a duplication of 
the Better Films Committees and councils 
now operating in cooperation with the Na- 
tional Board of Review and its previewing 
committees, with their several lists of classi- 
fication of screen product. 

Mrs. Belmont Silent 

This week it became known that Mrs. 
Belmont, who was placed in the presidency 
of the Motion Picture Research Council 
after the withdrawal of Dr. A. Lawrence 

Company Raising Funds Fades 
Out of Researchers' Picture 
as Drives Mark Time; Confer- 
ence Called in Washington 

Lowell, of Harvard, who was in turn suc- 
cessor to the late Dr. John Grier Hibben of 
Princeton, had been looking with increas- 
ing interest into various aspects of the 
Council's movements and motivations. Nat7 
urally enough a considerable array of 
sources of both opinion and information, 
through many persons, was to be found 

Mrs. Belmont is said meanwhile to have 
departed to spend the summer at Seal Har- 
bor, Maine, in itself an indication that no 
vast activity from the chief executive offi- 
cer of the Council was to be expected. 

Twenty-four hours after, no response was 
had to a telegraphic invitation to Mrs. Bel- 
mont to verify or comment upon the report 
of her retirement and contemplated with- 
drawal from the post of leadership in the 

Inquiry directed at the offices of the 
Motion Picture Research Council brought 
Dr. Short to the telephone : 

"Will you verify the report that Mrs. Bel- 
mont has resigned or is about to resign ?" 
he was asked. 

"That's premature !" Dr. Short snapped 
back. There was a pause, and he said : 
"Will you please hold the wire?" 

The wire was held a while. 

Dr. Short came on the line again. 

"We are ready to deny Mrs. Belmont's 
resignation," he said, and beyond that noth- 
ing more. 

More Bepuzzlements 

Some of the bepuzzlements of the Council 
on the subject of "where do we go from 
here ?" were reflected in the meeting held 
April 6 of this year when there was dis- 
cussion of a project to change the name of 
the organization in connection with the fund 
raising campaign. Objection had been made 
that since the researches had all been re- 
searched the name was for future purposes 
perhaps not quite correct. Dr. George Mil- 
lard Davidson of a committee named in 
December prior reported against a change 
of name and Tamblyn & Brown, holding that 
the public had been sold the "Motion Picture 
Research Council," concurred. 

This week tight-lipped Tamblyn & Brown 
referred all inquiries concerning the Coun- 
cil back to it. The Council asserted on in- 
terrogation that Tamblyn & Brown had is- 
sued no publicity In Its behalf since June I. 

Another slight element of the publicity 
eclipse of the Council is the personal attitude 
of Dr. Short. A few months ago he referred 
journals seeking his photograph to Under- 
wood & Underwood, the commercial and 
newsphotographic concern. This week it 
was found that no photographs of Dr. Short 
were available either at Underwood & Un- 

(Continued on following page) 


June 30, 1934 



Amplified Studio Relations 
Committee Will Direct New 
Deal in Moral Supervision of 
Hollywood's Film Output 

With the adoption of plans intended to 
expand and fortify the industry's methods of 
self-regulation, adjustments aimed to meet 
the issue raised by the carnpaign of protest 
have been effected. 

The critical situation of the last few 
weeks has been met by steps to make effec- 
tive the Production Code adopted Some 
years ago. The Legion of Decency move- 
ment and its standards will continue, but 
with an expectation that henceforward the 
code-controlled products of the screen, by 
appropriate precautions of the industry, will 
meet the standards of the Legion and its fol- 

Adminis+ra+ion Starts July I 

The Production Code Administration, 
which is a fortified reincarnation of the 
Studio Relations department of the Motion 
Picture Producers and Distributors of 
America, Inc., begins to function July 1 on 
the industry's revised plan of self-regula- 

The director of the new PCA is Joseph T. 
Breen, who has been the Hollywood assist- 
ant to Will Hays, in charge of studio rela- 
tions since last December 1. 

Mr. Breen will have augmented staff and 
facilities and his findings with respect to 
motion pictures, scripts and the like will 
be hereafter subject to review only on ap- 
peal to the company presidents of the mem- 
ber concerns of the MPPDA in New York, 
the distribution chiefs. Previously the Stu- 
dio Relations Committee rulings were sub- 
ject to appeal to a committee made up of 
Hollywood studio heads. 

New Seal for Approved Films 

Under the new plan of operation, ap- 
proved Hollywood productions will carry, 
in place of the present seal of MPPDA, a 
similar medallion stating it to be an ap- 
proved production and bearing a serial num- 
ber. Appropriate provisions have been 
adopted protecting the use of the new seal. 

Meanwhile this program of procedure was 
presented by Mr. Breen and Martin Quig- 
ley, president of Quigley Publications, to 
the Episcopal Committee on Motion Pictures 
of the Catholic church in session in Cin- 
cinnati late last week, as forecast in last 
week's issue of Motion Picture Herald. 

The Episcopal Committee has taken cog- 
nizance of the announced plans of the indus- 
try and through a statement issued in Cin- 
cinnati, made public at the end of the ses- 
sion, has given the industry's self-regulative 
program as much approval and encourage- 
ment as such an official pronouncement could 
contain. The committee's Cincinnati state- 
ment follows : 

Insist on Wholesome Films 

"During the past several months the Cath- 
olic Bishops' Committee on Motion Pictures, 
in cooperation with the authorities of all the 

dioceses of the country, has been waging a 
campaign of protest against the destructive 
moral influence of evil motion pictures. 
There has been no wish to harm nor destroy 
the motion picture business, but the evil 
character of portions of many motion pic- 
tures and the low standards of some motion 
pictures have forced the bishops to take di- 
rect and aggressive action in safeguarding 
the moral well-being of their people. 

"These recent activities against motion 
pictures which offend decency and morality 
were launched only after years of vain hope 
that the producers of these pictures would 
realize the harm being done and take positive 
steps to correct the trend. The committee is 
not hostile to the entertainment business ; in 
fact, it recognizes entertainment as a virtual 
necessity in modern life, but such entertain- 
ment must be of a wholesome character, and 
to that objective the committee has earnestly 
addressed its efforts. 

"The Legion of Decency, whose members 
pledge themselves not to patronize theatres 
showing offensive films, has gathered to its 
banner many thousands of adherents wher- 
ever it has been introduced. Plans are being 
developed to extend its membership to every 
town and citv in the United States and to 
invite all persons in sympathy with its pur- 
pose to lend fheir support. 

Cite Curtailed Patronage 

"The committee has been informed that, 
through the loyal cooperation of our Catholic 
people, together with a widespread response 
on the part of many others who believe that 
a purification of the cinema is an outstand- 
ing moral issue of the day, the motion pic- 
ture theatres have suffered a severe curtail- 
ment of patronage. This curtailment has 
prompted the Motion Picture Producers and 
Distributors of America, Inc., to send Mr. 
Martin Quigley of New York City and Mr. 
Joseph I. Breen of Hollywood to the meet- 
ing of the Episcopal committee today. 

"The companies which are members of 
the above-named organization are reputed to 
be responsible for approximately 90 per cent 
of the films produced in the United States. 
These companies are : RKO Pictures Corp., 
Fox Film Corp., Metro-Goldwyn-Mayer 
Corp., Paramount Pictures Corp., Warner 
Brothers, First National Pictures Corp., Co- 
lumbia Pictures Corp., Hal Roach, Educa- 
tional Pictures, Inc., Universal Pictures 
Corp., United Artists, Inc., Walt Disney 
Prod., Pathe, Inc., Principal Pictures, Inc. 

MPPDA Plan Discussed 

"The representatives of the association 
submitted a proposal covering certain spe- 
cific revisions of the industry's plan of self- 

"The committee has been pleased to re- 
ceive these representatives and to learn from 
them of the renewed efforts toward enforce- 
ment of the industry's plan of self-regulation, 
effective as of July 1, 1934, which have been 
decided upon. The committee is informed 
that the producers' jury in Hollywood, a part 
of the original machinery of enforcement of 
the production code, which was adopted in 
April, 1930, has been abandoned and that 
additional local authority has been assigned 

National Committee Approved 
at Meeting of Catholic Hier- 
archy; 'Council of Legion 
of Decency' Is Indorsed 

to the code administration, which adminis- 
tration is to be given an amplified personnel. 
In the past the producers' jury has func- 
tioned ineffectively. 

"The final responsibility for the character 
of the motion pictures to be issued by the 
organized industry has been accepted by the 
board of directors of the organized industry. 
The court of last resort in the settlement of 
any disputes which may arise between the 
studios and the code administration will 
be this board of directors. 

"The Episcopal committee views with 
favor the renewed efforts of the organized 
industry to discharge its responsibility of 
issuing only such motion pictures as may 
conform with reasonable moral standards. 
The committee believes that the production 
code if given adequate enforcement will ma- 
terially and constructively influence the char- 
acter of screen entertainment. Hence it is 
disposed to lend encouragement and cooper- 
ation to these efforts, which it hopes will 
achieve the promised results. 

Campaign Will Continue 

"Our Catholic people, however, are coun- 
selled that in the long run the desired result 
of a wholesome screen can be assured only 
through unfailing opposition to evil motion 
pictures. The widespread interest in and 
loyal support of our campaign of protest 
must be maintained in order that the pro- 
ducers of motion pictures may constantly be 
aware of the demand for clean entertainment. 
The salacious and otherwise objectionable 
type of motion picture must be avoided. 

"The Episcopal committee hopes that the 
results of the organized industry's renewed 
efforts looking toward adequate self-regula- 
tion will be followed by an adequate moral 
improvement in the pictures shown, and thus 
it is hoped that the Catholic Bishops may 
be relieved of what otherwise will be the 
imperative necessity of continuing indefi- 
nitely and of extending the campaign of pro- 

National Committee Named 

The Episcopal committee approved of a 
national conmiittee of priests, members of 
which are as follows: Rt. Rev. Mgr. Hugh 
L. Lamb, D.D., Chancellor, Archdiocese of 
Philadelphia ; Rev. Edward Roberts Moore, 
Ph.D., head of the Division of Social Action. 
Catholic Charities of the Archdiocese of 
New York ; Rev. George F. Johnson, Ph.D., 
Associate Professor of Education, Catholic 
L'nivorsity of America, Washington. D. C. 
and executive secretary. Department of Ed- 
ucation, National Catholic Welfare Confer- 
ence : Rev. F, G. Dineen, S.J., rector St. 
Ignatius Church, Chicago ; Rev. John J. 
Devlin, St. Victor's Church, West Holly- 
wood, Cal. 

The formation of a "Council of the Legion 
of Decency" was approved. 

Meanwhile in New York, Mr. Hays con- 
{Continttcd on following page) 



June 30, 1934 

Other Churches 
Join in Crusade 

Support of the Roman Catholic "Legion of 
Decency" campaign against "unclean" mo- 
tion pictures was volunteered this week by 
clergymen representing millions of church- 
goers of the Jewish, Evangelican, Lutheran, 
Methodist, Presbyterian, Christian En- 
deavor, Baptist, Episcopalian and a dozen 
other Protestant congregations. 

The Federal Council of Churches, a union 
of 25 Protestant denominations, in session at 
Oxford, Ohio, last Saturday, decided to nuite 
with the Catholic Church in the campaign. 

The executive committee of the Eederal 
Council at a subsequent meeting in New 
York set the third Sunday in October as 
the date when all Protestant pastors will be 
urged to present the motion picture problem 
to their congregations, declaring the time 
had come for drastic action. 

Rabbi David Philipson, a leader of the 
Central Congress of American Rabbis, wrote 
Archbishop John T. McNicholas, a sponsor 
of the "Legion of Decency," that "You are 
performing an incalculable service in the 
cause of clean and decent recreation." The 
Congress of Rabbis and the Synagogue 
Council of America already are considering 
action of their own. Dr. Philipson advised. 

The Atlantic district of the Evangelical 
Lutheran Synod, in conference at Albany, New 
York, heard Dr. Theodore Graebner, of St. 
Louis, express the opinion that, "the industry 
must learn there is force behind the action for 
suppression of the open sewer of America." 

The western district of the Evangelical 
Lutheran Synod, assembled at St. Louis, re- 
solved that the motion picture industry's "utter 
disregard of complaints and protests" is to be 
deeply deplored. 

Buffalo Group Endorses Drive 

Buffalo's Protestant Council of Churches 
endorsed the efforts of the Catholic diocese of 
Buffalo and the "Legion of Decency" to obtain 
"clean pictures." Definite action to join the 
movement will be taken up shortly by the 
Buffalo General Pastors' Association. Mean- 
while, the Council pledged its aid to the "Le- 

Protestants in Chicago launched a movement 
to enlist in the movement. One million Protes- 
tants in the Chicago area will be asked to co- 
operate through a pledge of non-attendance. 

Baptists Criticize Films 

In a letter sent by Dr. B. F. Lamb, secretary 
of the Ohio Council of Churches, to Protestant 
pastors in the state, all Protestants are invited 
to join with the Catholic churches in the cru- 
sade. Petitions accompanying the letters are to 
be sent by the clergymen to Dr. B. O. Skinner, 
state censor head, requesting the censors to ban 
in their entirety all "off-color" pictures, on the 
grounds that mere "pruning" is not sufficient to 
correct the "evils." Dr. Lamb further pointed 
out in his letter to the Protestant pastors that 
more than 500 exhibitors in Ohio had expressed 
a desire to cooperate with the churches in the 

Reverend Jesse Halsey, Presbyterian, of Cin- 
cinnati, publicly praised the Catholics for their 
stand against pictures. "We need a national 
housecleaning," he said, "and we need some 
form of cooperative attack on this, the most 
crying problem of our time." 

Active support of the principles of the "Le- 
gion of Decency" was recommended to the 
Christian Endeavor Union in convention over 
the week end at Detroit. 

The Hartford (Protestant) Federation of 

Churches adopted a resolution commending the 
efforts of the "Legion of Decency." 

The Baptist Ministers' Conference, meeting 
at New Orleans, criticized motion pictures. 

The Presbytery of Brooklyn-Nassau (N. Y.), 
meeting in Brooklyn on Monday, "heartily 
endorsed" the Catholic Church, the Federal 
Churches of Christ and the Central Council of 
American Rabbis, for their protests against 
motion pictures. The churchmen pledged their 
support of the movement and decided to urge 
their parishioners to patronize only those the- 
atres that offer "wholesome" programs. 

Clergymen of the Philadelphia Federation of 
Churches were called upon to support the 
"League of Decency" and to urge their mem- 
bers to refrain from attending "unwholesome" 

Rev. Henry Gruber, addressing the 58th an- 
nual convention of the western district of the 
Evangelical Lutheran Synod, held at Clayton, 
Missouri, urged the church to take a stand 
against "immoral" pictures, which he charged 
constitute "one of the greatest dangers that 
threaten the young people of the Lutheran 
church." Before adjournment, the convention 
resolved to ask pastors to urge churchgoers not 
to patronize "indecent" films. 

The Methodist Protestant Church, meeting 
at Westminster, Maryland, with delegates in 
attendance from Maryland, Delaware, Phila- 
delphia and Washington, denounced "as enemies 
of God and society" the makers of :"bad" films, 
and adopted a resolution to continue to "list 
motion pictures among modern evils as loiig as 
they continue to exalt the gangster and glorify 
the woman with a questionable past." 

The Ohio State Synod of the Presbyterian 
Church, in session at Wooster, Ohio, voted to 
inaugurate a nationwide program designed to 
"improve permanently the moral tone of the 
motion picture," and, furthermore, to urge 
churches to use petitions registering protests 
against "salacious" films. Another resolution 
commended the "Legion of Decency." 

Code Administration 
In Operation July I 

{Coittiiiucd from preccdinci page) 

currently issued a statement which declared : 

"At the quarterly meeting of the board 
of directors of the Motion Picture Producers 
& Distributors of America, Inc., action was 
taken to amend its system of self-regulation 
in order to eliminate appeals from the de- 
cions of the Production Code Administration 
to the jury of producers in Hollywood. 

"Additional local authority has been as- 
signed to the Production Code Administra- 
tion in Hollywood, of which Joseph I. 
Breen is the director, and the personnel will 
be amplified. Any appeal from the decision 
of the Production Code Administration rests 
only with the board of directors of the Mo- 
tion Picture Producers and Distributors of 
America in New York, which assumes final 
responsibility for the character of the pic- 
tures to be made. 

"There is but one answer and one answer 
only to reasonable objections to pictures, 
and that is the pictures themselves. It is 
recognized that the solution of the problem 
of the right kind of screen entertainment 
rests solely with the quality of the product 
and these strengthened arrangements are 
directed to discharging that responsibility 
more effectively." 

Mr. Breen ends his eastern sojourn this 
weekend and will be in Hollywood by July 
1 to set the revised machinery of control in 

Civic Union Asks Control 

The Civic Union of St. Louis has decided 
to extend its campaign against indecent 
films to many parts of the country. 

Decency Campaign 
IVatched Overseas 

Echoes of the Catholic Bishops' meeting 
last week in Cincinnati in connection with 
the "Legion of Decency" motion picture 
campaign were heard over the week end in 
the principal capitals of Europe, with opin- 
ion reported divided on the Continent as 
to the possibilities of the movement being 
extended to European centers. 

In London the Daily Express claimed to 
have obtained from "a high Vatican source" 
an outline of instructions reputedly sent by 
Pope Pius to Roman Catholic clergymen 
all over the world, urging : 

L Formation of local "Leagues of De- 

2. Organization of protest meetings 
against films held by vote to be objection- 

3. Utilization of the power of boycott. 

4. Publication in the whole Catholic press 
of lists of films under ban. 

A subsequent dispatch, from Rome, indi- 
cated that the "clean pictures" campaign of 
the American bishops was not the result of 
specific instructions from the Pope, but 
was undertaken on the initiative of the 
bishops themselves. 

Meanwhile, Motion Picture Herald 
was authoritatively informed that despite 
published reports to the contrary, the mo- 
tion picture campaign of protest originated 
by a committee of Catholic bishops is an 
independent American effort which was not 
directed and has not thus far been recog- 
nized by the Vatican, although the purposes 
of the campaign are understood to be favor- 
ably regarded at Rome. 

That the organized church campaign is 
in line with the Vatican's policy, was 
further verified in Osservatore Romano, 
Vatican newspaper, which editorially praised 
the American movement and stated that the 
crusade was being taken up in Europe. 

"We are in full accord with the idea," said 
Leopoldo Zuelo, head of the Italian censor- 
ship board. "We are doing our best and will 
continue to do so to censor immoral films 
coming from Hollywood. Our percentage of 
rejection is fifty," he added. 

A spokesman for the British Board of 
Censors, at London, said that rigid censor- 
ship of every film shown in Great Britain is 
accomplishing a "cleaning up" which makes 
it unlikely that any private action will be 

However, the Vatican source mentioned 
by the Daily Express declared that "Leagues 
of Decency" would be formed throughout 
Great Britain. 

In Paris the chief censor of the French 
government and Catholic Church officials, 
too, were reported to have given "hearty ap- 
proval" to the American drive. 

"Indecency is not needed in the movies," 
declared Edmund See, head of the French 
censor board. At the same time M. See 
gave America a clean bill of health so far 
as France is concerned, adding that Ger- 
many and Italy are worse offenders. How- 
ever, he continued, "so far as the movement 
to keep indecency out of the movies is con- 
cerned', we are for it." 

Hope for an international movement was 
expressed in Paris at the headquarters of 
the Catholic Society, according to the press 

June 30, 1934 





FUTURE STAR? (Below). Perhaps, but in any 
case, Marie Roche, Baltimore News beauty 
contest winner, is more than a little excited, 
as MGM director W. S. Van Dyke exhibits 
the script of "The Thin Man." 

ecutives and theatre operating partners at the sales 
meeting in Los Angeles. Among those present are 
Adolph Zukor, Sam Dembow, Jr., R. B. WIlby, John 
Balaban, Karl hloblitzelle. 

FEATHER TRIMMING. (Left). As pleasingly 
exhibited by Esther Ralston, MGM featured 
player. We are told, and recount for the in- 
terest of feminine readers, that these are un- 
curled ostrich feathers, in brown and white. 

JOLSON AND FAMILY. The latter being Ruby 
Keeler, also a Vv'arner player, as the couple arrived 
in New York, with a part of the fleet in the back- 
ground. She has just completed "Dames," and will 
return to the Coast after a brief vacation. 

QUIGLEY AWARD WINNERS. Honored were Gene Curtis, manager. Ken 
Finlay, exploiteer, of the Palace theatre, Montreal when Quigley plaques in 
Ihe May Round Table Club contest were presentd by Mayor Camilllen Houde. 
From left: the Mayor, Mr. Curtis, Col. J. A. Cooper, Motion Picture Dis- 
tributors of Canada, Mr. Finlay. 



June 30, 1934 

""^^IIWM METRO SALES FORCES MEET. The selling corps of Me+ro-Goldwyn-Mayer, as 
■ " -c' they convened last week at the Drake Hotel, in Chicago, for the annual sales con- 

vention. On the platform, center, is Felix F. Feist, general sales manager, who 
presided as the group prepared for an active season's selling. 

tendered a party last week at the Waldorf-Astoria 
Hotel, in New York, by Captain Roscoe H. Fawcett, 
the publisher of the Fawcett group of motion picture 
fan magazines. 

LA CUCARACHA. Which Is liberally translated 
as "The Cockroach," famed Mexican folk dance, 
and which is here literally interpreted by Muriel 
McKInnon, as in RKO Radio's color musical 
fortunately titled with the Spanish word. 

onto the stage of a Warner studio set, may be 
seen Kay Francis and Leslie Howard, in a scene 
from "British Agent," in which they co-star. The 
still camera has achieved an unusual effect, mak- 
ing a "porthole" of the mechanics. 

tractively posed by 
Heather Angel, Universal 
player who is appearing 
in "Romance in the Rain." 

June 30, 1934 



WARNER TO GET $4,000,000 FROM 


Sound Royalties Settlement. 
Calls for Payment by Erpi of 
$2,500,000 in Cash; Warner 
Books Gain by $2,000,000 

Warner Brothers Pictures and Electrical 
Research Products, of the American Tele- 
phone structure, finally signed a peace 
agreement last week, thereby ending a con- 
troversy over sound royalties which for 
seven years had engaged star legal talent 
in combat in arbitration chamber and fed- 
eral court. 

Legal Actions Dissolved 

Variously reported to have involved some 
$50,000,000, claimed by the Warners as 
their share in additional sound recording 
royalties, the dispute has been the most out- 
standing since sound started in 1926. Its 
settlement was etTected privately without a 
court decision and automatically dissolves 
the various legal actions sponsored by the 
Warner interests against Erpi and also 
settles various claims which each held 
against the other. The Warners will receive 
from Electrical Research some $4,000,000, 
and, in addition the books and profits of 
Warner will benefit by some $2,000,000 as a 
result of the settlement of Erpi claims 
against the Warner company. Warner will 
remain a Western Electric licensee. The 
following statement was released in New 
York jointly by the managements of both 
corporations : 

Announces Settlenrient 

"A settlement has been reached of the 
long-standing controversy between Warner 
Brothers Pictures, Inc., and Electrical Re- 
search Products, Inc. This controversy be- 
gan early in 1928 when arbitration proceed- 
ings were initiated, relating primarily to 
the amount of participation of Warner Bros. 
Pictures' subsidiary, the Vitaphone Cor- 
poration, in the royalties received by Elec- 
trical Research Products from its motion 
picture licensees. The controversy has con- 
tinued in various forms ever since and has 
resulted in extensive court proceedings. 

"The settlement clears accounts of the 
parties outstanding at various dates and 
in addition provides for the surrender by 
the Vitaphone Corporation to Electrical 
Research of Vitaphone's right to partici- 
pation in future royalties. In addition to 
clearing the accounts, Electrical Research 
pays Warner Brothers $2,500,000 in cash, 
$1,300,000 in negotiable promissory notes 
and an amount not to exceed $200,000 
payable on certain contingencies. 

"The agreement disposes of the arbitra- 
tion and all litigation between the parties 
and provides that Warner Brothers Pic- 
tures shall remain a licensee of Electrical 
Research Products." 

Warner Brothers later in the week ex- 
plained to its stockholders that actual de- 
cision to effect the settlement came at a 
special meeting of the board in New York 

on June 1. The company, in a letter to all 
stockholders, itemized the $1,500,000 in 
promissory notes received from Erpi — in ad- 
dition to $2,500,000 in cash— as a $500,000 
note payable April 26, 1935, a similar 
$500,000 note payable April 26, 1936, and a 
$300,000 note payable April 26, 1937. All 
three were signed by Erpi and indorsed by 
Western Electric. 

The $200,000 sum included in the settle- 
ment, payment of which depends upon cer- 
tain contingencies, will not be definitely de- 
termined until April 26, 1937. 

Warner Books Benefit 

"In addition to the above sums" (totaling 
$4,200,000), the company stated that "the 
books and records of Warner Brothers Pic- 
tures, Inc., and subsidiaries, show a net 
financial benefit from exchange of mutual 
releases, amounting to approximately $2,- 
100,000, before provision for federal and 
state taxes (not yet ascertainable), legal 
fees and minor adjustments." 

By the exchange of mutual releases be- 
tween the parties, all claims for indebted- 
ness and damages to Warner and its sub- 
sidiaries against Electrical Research, West- 
ern Electric and American Telephone have 
been discharged. Likewise claims of Erpi 
against Warner and subsidiaries are dis- 
charged, except that as to certain claims the 
release runs to Jan. 1, 1934, and as to other 
claims, to April 1, 1934. "All litigation be- 
tween the parties has been terminated," the 
Warner statement added. 

Carried to Federal Courts 

After some four years of conflict, waged 
principally behind locked doors of arbitra- 
tion chambers before noted legal talent act- 
ing as arbitrators, and costing both cor- 
porations $1,000 a day, the dispute, late in 

1931, finally was shaped to revolve around 
the specific charge that Erpi, Western Elec- 
tric's sale subsidiary, had not paid Warner- 
Vitaphone all the royalties due on disc re- 
cording by Western Electric's system, in 
accordance with the agreement entered into 
when Warner-Vitaphone undertook in 1926 
the commercialization of Erpi's then new- 
talking picture device. 

The battle for a time tended to repeat in 
pattern the early history of the great pat- 
ents battle which tore the industry apart 
when the litigation reached the courts. De- 
termined at the start not to try the case in 
the newspapers, guards were placed about 
the arbitration chambers in the elaborate 
executive offices of the American Telephone 
and Telegraph Company, at 195 Broadway, 
New York, to prevent any reportorial ac- 
tivities by the press. The arbitrators met 
intermittently variously during 1931 and 

1932, when Warner suddenly abandoned ar- 
bitration and took the fight into the federal 
courts at Wilmington, Delaware. 

Based on Contract of April, 1927 

The contract under which the Warner 
claim was based is one of April, 1927. The 
Warner claim originally was centered in the 
contention that Erpi's method of licensing 
other producing companies and associated 

Warner Will Continue as Erpi 
Licensee; All Litigation Is 
Disposed of by Agreement 
Reached Outside of Court 

practices were contrary to the intent of the 
contract. To this Erpi entered a blanket 
denial, and offered at the same time to 
show that Warner failed to be always actu- 
ated by the clauses and spirit of tlais now 
historical document. Contrary to the gen- 
eral belief, Warner has been receiving roy- 
alty payments from Erpi at the end of each 
year, and is said to have approximated 
$900,000 for a recent year. Warner, how- 
ever, has claimed that the payments were 
not sufficient. 

Other Companies Had Rejected Sound 

Specifically, the contract provided in sub- 
stance that in return for the production, 
theatrical and exploitation facilities of 
Warner-Vitaphone, Western Electric, later 
acting through Electrical Research Prod- 
ucts, would pay Warner 37 1-2 per cent of 
eight per cent of Erpi's gross receipts on 
disc recording. This method of recording 
long since has been abandoned in favor of 
all-film recording. 

At the time the agreement was entered 
into in 1927, "The Jazz Singer" had not 
yet demonstrated what the talking picture 
was to become. That achievement revolu- 
tionized motion picture entertainment in the 
fall of 1927. It was in the spring of 1926 
that Warner Brothers agreed with Western 
to be the means by which the invention 
should be brought before the public. 

Other companies already had rejected 
this new child of science. Ultimately ap- 
proached by Walter J. Rich, Wall Street 
envoy, whom Western Electric had en- 
gaged, the Warner brothers deemed them- 
selves in a position to gamble on the out- 

Studio Made Laboratory 

The Vitagraph studio of Warner Broth- 
ers was turned into a practical laboratory 
for the actual application of what Western 
Electric — more specifically, its parent com- 
pany's Bell Laboratories — had contrived 
theoretically. In addition, Warners rented 
Hammerstein's Manhattan theatre in New 
York for further production of pictures 
with sound, and by the middle of the sum- 
mer of 1926, a full-length dramatic film, 
"Don Juan," was ready to be run through 
projectors in synchronization with a highly 
amplified phonographic reproduction of in- 
terpretative orchestral music. 

Then Came "The Jazz Singer" 

Shown to the public in New York on 
August 6, along with a promising short in 
which the operatic tenor, Martinelli, was 
heard as well as seen singing, "Don Juan" 
failed to convince film leaders. 

Nevertheless, production continued 
throughout 1926 and into the next year, 
realizing some encouragement in a peculiar 

(Continued on page 38, column 3) 


June 30, 1934 


Projectionists Local 306 and 
Empire Group Are Visited by 
Police Seeking Evidence in 
Sabotage of Independents 

The intricate affairs of projectionists' 
Local 306, New York, of the International 
Alliance of Theatrical Stage Employees 
and Moving Picture Operators' were 
brought once more into the limelight of 
public print this week after a sensational 
raid by detectives, made at the instigation 
of assistant district attorney Wihiam E. 
Kleinman of Brooklyn, on the two New 
York offices of the local and on the office of 
the Empire State Motion Picture Operators' 
Union in Brooklyn. 

Three separate squads of detectives de- 
scended simultaneously on the offices, armed 
with "forthwith subpoenas" and orders 
from Mr. Kleinman to bring back evidence 
for the Brooklyn grand jury's inquiry into 
bombing and sabotage of independently op- 
erated theatres. 

The raids Monday were staged after sev- 
eral months of exhaustive inquiry by the 
district attorney's office into disorders 
growing out of labor disputes between ex- 
hibitors and projectionists, and Mr. Klein- 
man said Monday that the action taken by 
his office was only the "beginning of a 
thorough inquiry into union activities." 

On Tuesday supreme court Justice Peter 
B. Smith in Brooklyn signed an order di- 
recting district attorney Kleinman to show 
cause why the books, papers and docu- 
ments seized in the raid should not be re- 
turned to the offices of Local 306. 

For several months past there has been 
widespread agitation and general dissension 
in the ranks of the membership of Local 
306 over the administration of Harry Sher- 
man, president and "chief organizer." More 
than a year ago Mr. Sherman succeeded 
Sam Kaplan, who was ousted from the 
presidency of 306, and is currently serving 
a prison term on charges of coercion. 

Dissatisfaction with Sherman 

Dissatisfaction with Mr. Sherman's 
handling of the local's affairs appears to re- 
volve chiefly around his inability to satis- 
factorilv explain the disposition of approxi- 
mately $1,000,000 of the local's funds. Add- 
ed to that, Mr. Sherman, until the past 
week, was receiving a salary of something 
like $20,000 annually. This the courts re- 
duced last week to $1,800. 

The district attorney's office on Tuesday 
declined to reveal the specific causes for its 
descent on 306 headquarters, other than to 
state that it was a part of the investigation. 

This stage of the investigation apparent- 
ly has borne considerable fruit, as the vari- 
ous raiding parties arrested more than 30 
officials and employees and departed with 
a police van loaded with books and records, 
inviting the persons subpoenaed to accom- 
pany them to the grand jury room in the 
Brooklyn Central Courts Building. 

The three separate groups from the dif- 

ferent offices all met in the jury rooms and 
as books and records were being unloaded, 
witnesses signed waivers of immunity or 
indicated their refusal. Among those re- 
fusing were Joseph Blatt, business agent of 
Empire State Union ; Charles Beckman, 
financial secretary of Local 306, and Ar- 
thur Farkash, Empire State's president. 

Once Cleared in Homicide Case 

Last year Mr. Farkash, together with 
James Adesso, vice-president of Empire 
State, and Mr. Blatt, were exonerated in 
magistrate's court on homicide charges in 
connection with the death of James McAr- 
thur, a night watchman in a Brooklyn the- 
atre. McArthur was fatally beaten by a 
group of men who demolished the theatre's 
furnishings. Labor difficulties had been 
current at the theatre after the management 
had employed operators who were members 
of the Allied Motion Picture Operators' 
Union. Previously their operators had 
been members of Local 306 and Empire 

The district attorney's office submitted 
testimony to the grand jury regarding pur- 
ported transactions between the union and 
gangsters. The name of Dutch Schultz, no- 
torious New York racketeer and former 
beer baron, appears with that of other 
wellknown underworld characters. Last year 
the names of Frank Spitale and Irving Bitz, 
go-betweens in the Lindbergh kidnapping 
case, were linked with 306 on somewhat 
similar charges. Currently, it is alleged, 
an underworld chieftain received $7,500 
from one of the unions. Also, it is stipu- 
lated by persons "unknown" in the mem- 
bership of the unions, a detective agency 
was given $25,000 for purposes "unknown," 
while lawyers, too, received exorbitant 
fees. More than $200,000 has been spent 
by Local 306 during the past year on what 
Mr. Sherman has explained to those who 
sought to question him was "rehabilitation" 

Efforts on Tuesday to reach anyone of 
the principals involved proved unavailing. 
At Mr. Sherman's office all questions were 
referred to Mr. James Finn, publisher and 
editor of the International Projectionist, 
who, he himself explained, always acts as 
spokesman for Mr. Sherman. Said Mr. 
Finn : 

"Mr. Sherman's attitude is that it's a 
deliberate frameup between the Kaplan fac- 
tion in the union, the district attorney and 
the theatre owners. They had no right to 
break in on the unions' offices with machine 
guns, no warrants and no subpoenas. Why, 
they didn't even give a receipt for the 

Mr. Sherman on Monday night had de- 
scribed the incident as "a lot of baloney," 

"Another One of Those Things" 

"Just another one of those things which 
was tried in Washington," declared Mr. 
Sherman. "The story has been on the ice 
the last two weeks. The district attornev 

had no complaint or warrant and the papers 
he took amounted to nothing." 

A protest is to be made by Sherman's 
attornies against the district attorney for 
forcibly entering the union's office without 
a warrant. 

"The whole thing has been inspired by 
exhibitors at odds with the union," said 
Mr. Sherman. 

Attempts to reach Mr. Farkash at the 
headquarters of the Empire State union met 
with the reply, "There's no one around 
here and I don't think there will be for a 
few days." 

Studios Act to 
Revise Product 

Paramount, Warner, Goldwyn, MGM and 
Radio Tuesday announced plans to revise 
certain pictures currently either in produc- 
tion or, in one instance, completed. The 
move was stated to have been made as a 
direct result of the religious agitation 
throughout the country against films. 

In the case of Mr. Goldwyn, "The Bar- 
bary Coast," starring Anna Sten and Gary 
Cooper, was put on the "shelf," and while 
the picture had not actually gone into pro- 
duction several months had been spent on 
preparation. Paramount announced that, 
after a preview of the new Mae West film, 
"It Ain't No Sin," by the New York State 
Censor Board, the picture would be revised. 

MGM abandoned "The Postman Rings 
Twice" and "Professional Correspondent," 
screen name for the novel, "Man and Wife." 
MGM also pulled back Jean Harlow's "Born 
to Be Kissed" for "laundering." Similar 
treatment was given "The Green Hat," and 
Greta Garbo's next, "The Painted Veil," is 
being carefully surveyed. 

Radio is revising "The Fountain" script. 
Warner is remaking two reels of "Madame 
Du Barry." 

Changes from original screen treatments 
are being made at virtually all studios. 

Four Hal Roach Features 
Added to 32 Short Subjects 

Hal Roach returned to Culver City 
Wednesday after conferring in New York 
with MGM distribution executives on his 
schedule for 1934-35. In addition to 32 two- 
reel comedies, Mr. Roach's feature program 
will be increased to four, two starring 
Laurel and Hardy and two to be known 
as "Marquee Pictures." In one of the Mar- 
quee features will be featured Charley 
Chase, Buster Keaton, Our Gang, Irvin S. 
Cobb and other comedians. 

In keeping with the reputed trend away 
from double features in some sections, Mr. 
Roach, like the Educational interests, has 
decided to increase his short subject nega- 
tive costs by 20 per cent. 

Warns of "Boycott" 

Producers cannot afford to offend 20,000,- 
000 American motion picture goers, the 
Rev. Russell Sullivan, S.P., warned in a 
stormy session of the House of Representa- 
tives in Boston last week. Rev. Sullivan, 
appearing before the legislature at the re- 
quest of Cardinal O'Connell, of Boston, said 
a boycott of two feature films a month would 
almost bankrupt "even the great picture 

June 30, 1934 




Dozen Theatres Where Bernhardfs 
and Irvings Once Trod Noiv Flay 
Dotible Features at Dime a Throiu 

Beneath the towering structures of New 
York's Empire State and Chrysler buildings 
and directly within the shadows of the 
mighty Paramount Building — which houses 
the spacious Paramount theatre in Times 
Square — a dozen "grind" houses ply their 
double and, sometimes, triple bill trade. The 
majority of these once were legitimate the- 
atres, boasting proud names in the world of 
the drama, houses where stepped the Bern- 
hardts, Terrys and Irvings of the earlier 
day, over whose stages now flit the ghostly 
figures of the motion picture screen. 

The New 42ncl Street 

Further, these theatres supplied the back- 
bone for that institution once famed for its 
glittering lights, its brilliant "first nights," 
with their attendant sartorial splendor and 
dignity — 42nd Street. During the depres- 
sion, the magic aura surrounding the 
"street" faded perceptibly and strange things 
happened : individuals with apparently but 
little appreciation of "art," "background," 
"tradition" or "culture," overnight turned 
42nd Street into a gaudy hurly-burly of 

Unshaven barkers in remnants of what 
once were brilliant commissionaires' uni- 
forms shout their wares — "Come on in, 
folks, and see a three-hour show for 10 
cents! Only a dime, folks, only a dime!" 

Cautious inquiry last week revealed that 
most of these "grinds" have regular patrons 
— chiefly among the unemployed — who stand 
in line as early as 9 A. M., waiting for the 
box-offices to open. Then they go in, as 
one barker said, sit down, manage to stay 
awake during the first show and spend the 
rest of the day asleep. Periodically, it may 
be noted, those patrons who prefer to sleep 
are prodded into comparative wakefulness 
by ushers apparently appointed for that sole 

"After spending five or six hours in the 
show," the barker continued, "the guys go 
home an' curse the employment situation, the 
administration down at Washin'ton an' 
capitalism. Poisonally, I don't hold much 
wid capitalism, but dese guys ain't really 
got no kick comin'." 

Eight Once Stages of Stars 

Seven of the theatres are on 42nd Street 
itself, between Seventh avenue, and Eighth, 
with the remainder scattered, some on 
Eighth, one on Seventh and one on the 
corner of 42nd and Broadway. Eight of 
them were once legitimate theatres. 

Prices at the majority of the houses vary 
according to the time of day, but all have a 
10-cent admission up to 1 P.M. After that, 
it may be IS cents until six o'clock and 20 
cents thereafter, with the scale sometimes 
going as high as 25 cents, but a dyed-in- 
the-wool bargain hunter need pay "only one 
thin dime,' if he gets there early enough. 

Morning prices, as checked last week, re- 
veal the following illuminating statistics : 

Sam H. Harris 10 cents 

Liberty 10 

Selwyn 10 

Times Square 10 

*Eltinge 25 

*Minsky's 25 

Ideal 10 

Times 10 

Stanley IS 

Geo. M. Cohan 10 

Wallack's 10 

*Burlesque. The Eltinge varies between 
burlesque and double features. 

Of these, the Sam H. Harris, Liberty, 
Selwyn, Times Square, Eltinge, Times, Wal- 
lack's and Geo. M. Cohan theatres all were 
once legitimate houses. Wallack's currently 
is dark. 

In Times Square itself during the past 
few months have been two theatres — the 
Gaiety and the Globe — which have main- 
tained dual bill policies at prices ranging 
from 10 cents early in the morning to 25 
and 35 cents after 6 P.M. These two, how- 
ever, are now showing first run pictures. 
The Gaiety was the theatre in which the 
Fox film, "Cavalcade," had its world pre- 

The New "Tin Can Alley" 

A few samples of the product being 
offered one week at some of the theatres in 
question, will give an idea of what the new 
"tin can alley" may be like. 

At one theatre, on the same bill, were 
playing "Hell's Highway" and "Sailor's 
Holiday." The former was generally re- 
leased in the summer of 1932, while there 
are no records available on the release date 
of "Sailor's Holiday.' 

Another house was playing "No More 
Women" and "The Worst Woman in Paris." 
At a third were "Come on Marines" and 
"Spitfire," both comparatively recent re- 
leases, but the admission price for this bill 


Compliance Officer Calhoiin, of the 
Los Angeles area for the NRA, was 
asked recently if the studios were 
complying with all requirements of 
the Motion Picture Code. 

"Some complaints for violation 
have been filed against the studios" 
said the officer. 

"Have any hearings been held about 
these complaints" some one asked the 
Compliance Officer. 

"No," said the deputy, "the studios 
have been advised and notified to ap- 
pear here, but to date no one has 
shown up." 

was only 15 cents, as for the majority of 
the theatres in that vicinity. 

It's the 1934 sound version of the street 
of bright lights, where the Barrymores 
thrilled countless audiences in "The Jest," 
where Sir Henry Irving played "The Pass- 
ing of the Third Floor Back," and where 
countless legendaries of a moribund legiti- 
mate theatre were looked upon as gods and 
played in a regal setting. 

French Increase 
Duty on Imports 

The French government on Tuesday ex- 
tended its quota decree to December 31, 
1934, allowing 94 "dubbed" versions to be 
imported during the second half of the 
year. This number is one more than the 
total allowed for the first six months to 
June 30. 

At the same time, the import duty on 
negatives was increased from three to five 
francs per metre. Extension of the exist- 
ing quota for the second half of 1934 is 
considered sufficiently liberal to meet the re- 
quirements of the American industry in point 
of dubbed versions, which failed to consume 
the 93 allowed up to June 30. 

Among the provisions of the new decree 
is a clause which exempts all animated car- 
toons from restrictions. 

Allied Owners Company 
Seeks a Reorganization 

Francis T. Pender, president of Allied 
Owners Corporation, bankrupt subsidiary 
of New York Investors, Inc., has filed in 
the New York federal court a petition for 
reorganization of the company under the 
new bankruptcy law. 

The petition indicates the cash position 
of the firm as having increased to $601,708, 
a gain of $260,940. The major assets are 
set forth as Loew's King, the Pitkin and 
Paramount, all Brooklyn theatres ; Loew's 
Valencia, Jamaica; one theatre in Birming- 
ham, Ala., one in Fremont, O., and one in 
Glens Falls, N. Y. No adjudication has yet 
been made, according to the petition, of a 
claim of $23,364,726 against the Paramount 
Corporation, also in bankruptcy. 

Rian James Promoted 

Rian James, writer, has been promoted 
to associate producer at Universal. Russ 
Columbo has been signed to a new starring 

Firm Changes Name 

Theatre Equipment Acceptance Corpora- 
tion, a Delaware corporation, has changed 
its name at Dover, Del., to Theatre Equip- 
ment Contracts Corporation, New York. 



June 30, 1934 


26 Independents Announce 243, 
Seven Major Connpanies 350, 
With Colunnbia Still to Report; 
More Color in Short Product 

With but one of the larger companies^ — - 
Columbia — yet to have its 1934-35 sales con- 
vention, the motion picture industry this 
week laid its final plans for the business of 
selling and buying motion pictures for the 
new season. Seven major companies to 
date have promised 350 features for the ap- 
proaching cycle and have detailed the title, 
story and cast leaders for 277 of them. 

At the same time, 26 independent pro- 
ducers and distributors have announced 243 
features for 1934-35, giving exhibitors thus 
far a total of 593 pictures, or with Colum- 
bia's expected 40 a grand total of 633, from 
which to chose for new season playing time. 
However, Columbia has made no official 
announcement and several independents also 
have issued no definite programs for 

Higher Admission Drives Awaited 

Small exhibitors this week were awaiting the 
outcome of three movements having a direct 
bearing on buying and selling for the 1934-35 
schedules. One of these is the Warner cam- 
paign for a nationwide scaling up of admission 
prices and a drive to eliminate duals ; second, 
MGM's indications that new season contracts 
may carry a clause stipulating a 15-cent mini- 
mum admission, and the third is Educational's 
declaration that duals are on the wane and, 
therefore, Educational's 1934-35 budget will be 
increased 20 per cent. 

Protests against new zoning schedules in 
the Los Angeles territory were voiced at 
a meeting of the Independent Motion Pic- 
ture Producers Association on Monday 
night in Hollywood. The schedule, as 
drawn, penalizes the showing of double 
features, and Ken Goldsmith, speaking for 
the association, said exhibitors should be 
allowed to operate their businesses "with- 
out the influence of monopolistic bodies." 
The association will launch a nationwide 
campaign in opposition to that of Warner 
to sustain double bills, he said. 

Warner has openly declared for a drive to 
raise admission scales, and, as soon as the 
necessary organization is possible, will launch 
it. Coincidentally, the company will seek elim- 
ination of double featuring by withholding 
product from houses charging less than IS 
cents for matinees and 20 cents in the evening. 

MGM's new season contracts may stipulate 
a 15-cent minimum admission in most terri- 
tories, it was said this week, despite the fact 
that Felix F. Feist, general sales manager, 
does not regard 10-cent houses as "any special 
problem for the future." 

Cites Business Improvement 

In Chicago this week, Mr. Feist predicted 
that a IS-cent minimum for the 1934-35 season 
would be entirely justified by continued busi- 
ness improvement the next six months, and 
that the same factor automatically will elimin- 
ate 10-cent houses in most localities. He pointed 
out that the Administration still is committed 

to public works projects and relief programs 
which will put $1,500,000,000 more into general 
circulation before the end of the year, and as a 
result, stimulated public spending will make it 
possible for the exhibitors themselves to ini- 
tiate the movement away from 10-cent admis- 

Mr. Feist indicated that double billing is 
purely an admission of weakness on the part 
of the exhibitor and is "ruinous to business." 

In the short subject field, plans indicated that 
color will be used more than ever before. 
More than double the number of shorts made 
in Technicolor for 1933-34 will be in the new 
season schedules. Dr. Herbert T. Kalmus, 
Technicolor president, said last week before 
leaving New York for Hollywood. Aside from 
this color process as it is to be used in 1934-35 
feature pictures, five cartoon makers have con- 
tracted for the use of the process and two 
others currently are negotiating. United Artists, 
Columbia, Universal, Warner and MGM have 
signed contracts for Technicolor in short pro- 
duct. Dr. Kalmus said. 

Additional Product Details 

Further product announcements were made 
known during the week : 

Beacon Productions plans to make six melo- 
dramas on the Coast for 1934-35 release, with 
Syndicate Exchanges handling distribution in 
the New York territory. 

Columbia was considering holding its sec- 
ond regional sales convention in Chicago, 
July 7-9, at the Drake, the first being set for 
July 2-4 in Atlantic City. Edward G. Robin- 
son has been given a contract for one feature, 
as yet untitled, to be directed by Howard 
Hawks. A new starring combination will have 
Jack Holt and Edmund Lx)we teamed. Claudette 
Colbert will be presented again by Columbia, 
following her success opposite Clark Gable in 
"It Happened One Night." 

Three pictures to be announced in Atlantic 
City and Chicago are "Feather in Her Hat," 
"Party Wire" and "The Girl Friend," the last 
named being a musical to star Lupe Velez. 

Columbia will sponsor Tim McCoy in another 
series of outdoor feature dramas. Four comedy 
players signed in two-reel subjects are Leon 
Errol, Walter Catlett, Harry Langdon and 
Andy Clyde. 

Fox Release Schedule for Quarter 

Fox Film Corporation announced its tenta- 
tive release schedule for the first quarter, as 
follows : August : "Grand Canary," "Wanted," 
"The Cat's-Paw" (Harold Lloyd), and "The 
World Moves On" ; September : 'The Dude 
Ranger," "Servants' Entrance," "Charlie Chan 
in London," "Serenade" and "Marie Galante" ; 
October : "Judge Priest," "Life Begins at For- 
ty," "Caravan" and "State versus Elinor Nor- 
ton." Four of the pictures in this group al- 
ready have been completed, four are in produc- 
tion and the remainder are being prepared for 
early shooting. 

Freuler Film Associates plans production of 
16 features, including eight westerns and eight 

Gaumont-British made known its plans for 
American distribution of 12 specially selected 
films designed for the American market, with 
an abundance of American and British star 
names. First is "Along Came Sally," starring 
Cicely Courtneidge, wellknown both here and 
abroad, and supported by the American serio- 
comic, Sam Hardy. Next is "Channel Cross- 
ing," starring Constance Cummings, with Nigel 
Bruce, Anthony Bushell and Matheson Lang 
in support. James Gleason, Charlotte Green- 
wood and Cyril Maude will be starred in 
"Orders Is Orders,'' a comedy satirizing an 

American motion picture company. "The Mur- 
der Party," a comedy-thriller, will star Leslie 
Banks, while "Friday the 13th" will have Frank 
Lawton, Ursula Jeans — the boy and girl of 
"Cavalcade" — Gordon Harker and Jessie Mat- 
thews. In "Dick Turpin, Outlaw," Victor Mc- 
Laglen will re -enact the career of the famous 
highwayman, while in support of him will be 
Jane Carr, Frank Vosper and Jimmy Finlay- 
son, an American comedy favorite. "Strike," 
a drama, will star Leslie Banks and Carol 
Goodner, with Donald Calthrop and Frank 
Vosper in support. Cicely Courtneidge will 
appear also in "The Woman in Command," 
with Edward Everett Horton co-featured. 
"Sleeping Car" will star Madeleine Carroll and 
Ivor Novello ; "Just Smith,'' Tom Walls and 
Carol Goodner; "It's a Boy," Edward Everett 
Horton and Leslie Henson, and "The Arson 
Ring" will feature Leslie Banks, Carol Goorl- 
ner and Frank Cellier. 

181 MGM Short Features 

Metro-Goldwyn-Mayer's short subject pro- 
gram for 1934-35, supplementing its group of 
52 feature releases, will consist of 181 one and 
two-reel subjects. These will be produced at 
the Hal Roach studiq and the MGM Culver 
City studios, and include 104 issues of Hearst 
Metrotone News and FitzPatrick Traveltalks. 
Approximately 35 per cent of all short subject 
product will be made in Technicolor. Eight 
FitzPatrick Traveltalks will be made in color, 
an innovation, as will six MGM musical revues 
and 13 musical cartoons. 

The entire list of MGM short product for 
1934-35 comprises three Laurel and Hardy two- 
reel comedies, in addition to their full-length 
features ; eight Charley Chase comedies of 
two reels each ; seven special two-reel comedy 
subjects starring Irvin S. Cobb, from material 
prepared by himself ; eight Thelma Todd- Patsy 
Kelly co-starring comedies ; six "Our Gang" 
two-reelers ; six two-reel musical revues and 
13 one-reel MGM musical cartoons, both in 
Technicolor; 12 Pete Smith Oddities and six 
Pete Smith Goofy Movies ; eight FitzPatrick 
Traveltalks, and biweekly issues of Hearst 
Metrotone News, with Edwin C. Hill as the 
explanatory Globe-Trotter. Mr. Hill's broad- 
casts on "The Human Side of the News" have 
proved one of the most popular of all radio 
features. During the coming season Hearst 
Metrotone will operate independently of its 
previous association with Fox Movietone News. 

Eight from Pinnacle 

Pinnacle Productions will handle eight fea- 
tures, to be produced on the Coast, Jack Trop, 
president, announced. 

RKO Radio Pictures has started work on 
two features on its 1934-35 program and ex- 
pects to put five more into work before July 
16. The two currently underway are "The 
Fountain" and "The Age of Innocence." Those 
scheduled for an early start are "The Gay 
Divorce," "Wednesday's Child," "Richest Girl" 
and "Anne of Green Gables." "To the Victor," 
a story based on the life of Sir Basil Zaharoff, 
has been added for the new season. 

An augmented 1934-35 program was made 
public last week by Harry Goetz, president of 
Reliance Pictures, releasing through United 
Artists. The company will make three in addi- 
tion to "The Count of Monte Cristo," "Transat- 
lantic Merry-Go-Round" and "Catalina." One 
of the additional features may be made in 
New York. "The Count of Monte Cristo," 
starring Robert Donat and Elissa Landi, has 
been completed. 

Universal has bought the Homer Croy story, 
"Lady Tubbs," for the 1934-35 program, to be 
produced by Lou Ostrow. 

Using New Camera Device 

Mascot Pictures is using a newly pur- 
chased camera device, called the "velocita- 
tor," in its production of "Young and 
Beautiful." The device is a development of 
the camera "dolly," and is electrically con- 

June 30, 1934 


Fund Proposed To 
Retire Paramount 
Bank Obligations 

Holders of the 3,380,121 shares of Para- 
mount Publix Corporation stock outstanding, 
under a proposal said to be incorporated in 
the plan of reorganization of the company 
now being worked out, may be assessed on 
the basis of $2 a share to create a fund for 
retirement of the company's bank obligations 
in the reorganization. 

Such a proposal would provide a cash 
fund from which $5,000,000 would be paid. 
pro rata, to the 12 banks which provided 
Paramount, through its subsidiary. Film 
Productions Corp., with a $13,000,000 credit 
fund in 1932. This transaction currently is 
in litigation. 

Current valuation of Paramount's assets 
shows approximately $100,000,000, a mark- 
down of $50,000,000 from the $150,000,000 
estimated at the time of the receivership in 
January, 1933. Liabilities are reported at 
an estimated $60,000,000, of which $25,000,- 
000 is owed to bondholders, $13,000,000 to 
banks and $22,000,000 to general creditors. 

In expectation that Paramount will be re- 
organized by autumn or early winter at the 
latest, deals with the theatre operating 
partners are being renewed by the trustees 
for terms of less than one year. This policy 
will permit the heads of the reorganized 
company to make their own permanent oper- 
ating deals or to operate theatres themselves. 

Paramount expects to gross $20,000,000 
abroad the coming season, George J. Schae- 
fer, general manager, told the sales conven- 

In New York, reports were published to 
the effect that Charles E. Richardson, one 
of the three trustees in bankruptcy of Para- 
mount, had resigned. Mr. Richardson on 
Wednesday explained the reports as follows : 
, "After serving for nearly 14 months as a 
trustee of Paramount Publix, a number of 
purely personal reasons have made it neces- 
sary for me to consider whether it will be 
possible for me to remain in the situation 
for the additional time which will be re- 
quired to conclude the matter. A definite 
conclusion will be reached by July 10, how- 

Stockholders and creditors of Paramount 
will meet the morning of July 10 before 
U. S. district judge Alfred C. Coxe in New 
York to determine whether the appointment 
of Mr. Richardson, Charles D. Hilles and 
Eugene W. Leake as temporary trustees will 
be made permanent, the move coming under 
the provisions of the new bankruptcy act. 

Circuit Office Moved 

The Paramount theatre district of Upper 
New York State will have headquarters in 
Poughkeepsie, under supervision of George 
Walsh, operating partner, and Harold 
Greenberg, booker. Headquarters were for- 
merly maintained in New York City. 

Sells Distribution Interest 

E. L. Walton has sold an interest in Ma- 
jestic Pictures distribution for the North- 
west to Art Adamson, former Portland 
salesman for Universal, who will be ai part- 
:ier in the Portland district only. 


Government and Civic Leaders 
Participate at Ceremonies 
Honoring Winners of Round 
Table Plaque for Exploitation 

Noticeable improvement in both the cali- 
ber and activity in theatre merchandising in 
Montreal was cited at the presentation to 
Manager Gene Curtis and advertising Man- 
ager Ken Finlay of the Palace Theatre, of 
the Martin Quigley Awards for May, spon- 
sored by the Managers' Round Table Club 
of Motion Picture Herald. Mayor Camil- 
lien Houde, who combines a forceful leader- 
ship with ready wit to make him one of 
Canada's most colorful personalities, made 
the presentation. 

It was the first time that a Montreal 
mayor had appeared in person at a theatrical 
gathering, and the conservative Gazette 
made a radical departure from precedent 
when it printed a picture as well as an eight- 
inch news story of the event, participated in 
by government and civic leaders of Canada, 
including a number of consuls. 

W. J. C. Sutton, president of the Adver- 
tising Club of Montreal, presided, with more 
than 250 present at the Mount Royal hotel 
for the event. Colonel John Cooper, head of 
the Motion Picture Distributors and Ex- 
hibitors of Canada, was present from 
Toronto to introduce Mayor Houde. 

The entire proceedings were broadcast 
over a network from Station CKAC, oper- 
ated by La Presse, leading newspaper of 
Montreal. Newsreel men from the Associ- 
ated Screen News "covered" the event pic- 

Complete details of the presentation ap- 
pear in this issue in the Managers' Round 
Table Club department, on page 77, and 
a picture of the event is found on page 13 

Musicians Favor 
Clean Films Drive 

The American Federation of Musicians, 
in annual convention in Cleveland last 
week, went on record as favoring the move 
for clean pictures, and advocated the com- 
bination policy of pictures and stage presen- 
tations at motion picture theatres. 

Attending the 39th annual meeting at the 
Hotel HoUenden were 351 delegates from 
every state. There was one woman dele- 
gate, Mrs. Fanny Benson of Marion, Ohio, 
secretary to the business manager of the 
Marion local. 

This year's officers and board of direc- 
tors were reelected as follows : president, 
Joseph N. Webber, New York; vice-presi- 
dent, C. L. Bagley, Los Angeles ; secretary, 
William J. Kerngood, Newark, N. J. ; 
treasurer, H. E. Brenton, Boston. On the 
executive committee are : C. A. Weaver, 
Des Moines ; A. C. Hayden, Washington, 
D. C. ; A. A. Greenbaum, San Francisco ; 

James C. Petrillo, Chicago ; and J. E. Jar- 
rett, Toronto. 

Delegates selected to attend the Ameri- 
ican Federation of Labor convention in San 
Francisco are : Edward Carnavan, New 
York ; Charles L. Bagley, Los Angeles ; C. 
A. Weaver, Des Moines ; Otto Kapl, Cleve- 
land, and Vincent Castronovo, Providence. 
Selection of a city for next year's conven- 
tion has been left in the hands of the execu- 
tive committee for later decision. 

U. S. Studying 
Fox Theatre Deal 

Investigation of possible anti-trust law 
violations in the proposed acquisition of the 
Fox Metropolitan circuit by Loew and 
Warner was launched Tuesday by the de- 
partment of justice when Albert J. Law, spe- 
cial investigator for the department in New 
York, was assigned to the case. 

If the proposed acquisition is effected, 
Skouras Brothers would lose operating con- 
trol of 44 of the 87 theatres in the circuit, 
if the $4,000,000-bid of the two companies 
is accepted. Counsel for Skouras raised the 
question of possible anti-trust law violation 
during a hearing last week before Federal 
Judge Julian W. Mack when the joint bid 
was made. A meeting of Fox Metropolitan 
noteholders was postponed for the third 
successive time this week. 

MGM Launches New 
Advertising Campaign 

Metro-Goldwyn-Mayer is planning to 
launch an extensive advertising campaign in 
general magazines having national circula- 
tion, according to Donahue & Co., agency 

The campaign will have an annual budget 
of $1,000,000, and will run in full-page space 
in five general weekly and 10 general and 
women's monthly magazines. The campaign 
will start in August. 

French Propaganda Film 
Would Restore Confidence 

A three-minute French film appearing in 
the theatres of France recently is seen in 
Paris as an ingenious effort to restore confi- 
dence of the people in their government and 
thenation. In various sections the propaganda 
subject, in subtitle, indicates that "France 
gave liberty to the world"; that "France is 
in the forefront of progress" ; that "France 
fought for civilization," in each case the 
subtitle followed by appropriate scenes of 
the French Revolution, scientific effort, the 
World War. 

Disney Goes Satirical 

Walt Disney, cartoon producer, has 
turned from comedy to satire in his latest 
Silly Symphonv production in color, "Who 
Killed Cock Robin," to be released by 
United Artists. 



June 30, 1934 



Budgets Increased as Produc- 
tions That Never Saw Amer- 
ica Gross from $500,000 to 
$700,000, Producer Discovers 


Hollywood Correspondent 

Producers in England, with grosses be- 
tween $500,000 and $700,000 on some of 
their pictures which never were shown in 
America, are expanding their production 
budgets and at the same time building star 
personalities, David Selznick said on his 
return to Hollywood from London. 

The young producer for Metro-Goldwyn- 
Mayer was abroad two months looking for 
local color, fact and fancy, anent "David 
Copperfield," but also took time to study 
studio conditions, dip into theatre grosses 
and sign talent. He brought back a tale 
over which American producers, smug in 
their concept of dominance, might well 

Spending "Real Money" 

" 'Catherine the Great' and 'The Private 
Life of Henry the Eighth' are just fore- 
runners of what we can expect of England," 
said Mr. Selznick. 

"Alexander Korda is now engaged in 
launching a twelve picture program for 
United Artists, each picture of which will 
be geared for the American market with 
American appeal and produced according 
to the best standards of American methods 
and technology. 

"England, for the first time in her film 
history, is spending real money on produc- 
tion. The reason is twofold. 

"In the first place, sonne of her own pic- 
tures which never even saw the light of day 
in Annerica, have grossed and are grossing 
between $500,000 and $700,000, Anneri- 
can money, in the British Isles, exclusive of 
Canada, Australia and New Zealand. 

"In the second place, Britain is wisely 
building star personalities. Why, some of 
her pictures, with her own big names, gross 
more in England than some of our biggest 
American star pictures, and our big stars 
are very popular abroad. Furthermore, 
America never even heard of some of these 
new English stars who are the lead attrac- 
tions there. 

Producers Taking New Life 

"The whole picture, as I saw it, was a 
revelation. The spirit of the industry is 
different now. Producers have shaken off 
their lethargy. They can afford to gamble. 
If they hit, they hit big. If they miss, they 
can make it up on a succeeding hit. That's 
v\'hat made the American business great. 

"Actors and actresses, writing talent and 
technicians are being paid as much in Eng- 
land as they are here. 

"Believe it or not, one popular feminine 
star gets about $100,000 a picture, Ameri- 
can money, even at this rate of exchange. 

"Even the English press have made a 

right-about face in writing about British- 
produced pictures. Heretofore, the critics 
wrote caustically, unmercifully kidding 
about the superiority of American-made 
films. The critics today are constructive, 
giving more space to film activities and in 
many instances waxing enthusiastic about 
the new spirit sparking from. British pro- 

"The producers," he said, "may be a bit 
behind us in the refinements of technique, 
but the real heart of the picture, the people, 
the stories, the writing, each is being given 
profound attention. 

"Metro will endeavor to meet this friend- 
ly competition by engaging in production 
in England in the near future." 

Finds Theatres Crowded 

Mr. Selznick found that London "has put 
the depression behind it." He said, "The 
town is gay, crowds jam the theatres and 
night clubs. The legitimate theatre is hav- 
ing its best season in years. Film houses 
are getting over a dollar for orchestra seats 
at the West End, and lines again circle pic- 
ture houses. 

"Britishers, because of the influence of 
American films, are using our vernacular. 
In fact, Americans are part and parcel of 
the present day London scene. 

"Nor does a picture need an English back- 
ground to succeed in England. 

"One phase of our product disconcerts 
the British. That's our crime pictures. 
Crime films are considered sort of primitive 
by the English. But when you realize that 
an English Bobby doesn't even carry a gun, 
that may explain something." 

While abroad, Mr. Selznick signed up 
Hugh Walpole to work on the script of 
"David Copperfield," Fritz Lang and Leon- 
tine Sagan, directors, and Peter Trent, 
English boy, as a possible choice for 
"David Copperfield." He also persuaded 
Lloyd George to permit the adaptation of 
his war memoirs. 

Private Coast Pools Seen 
Spreading Paralysis Grip 

With the infection of Harold Rosson, 
Hollywood cameraman, and Ida Lupino, 
player, with mild cases of infantile paraly- 
sis, an epidemic of which is currently 
sweeping the section, it is believed the use 
of private swimming pools has something 
to do with the spread of the infection. The 
health department warned that water enter- 
ing the nasal passages interferes with pro- 
tective membranes, thus making the swim- 
mer susceptible to the infection. Many 
stars have ceased using their private pools. 

Capital Exchanges Merge 

The Capital Film Exchanges in Denver 
and Salt Lake City have merged, and will 
handle independent product. Harry N. 
Kerer will be president and manage the 
Salt Lake branch, and his brother, George, 
as vice-president, will manage the Denver 
branch. Abel Davis will be sales manager 
and secretary-treasurer. 

Regale President 
On V acation Trip 

When President Roosevelt, aboard the 
U.S.S. Houston, sails south on a vacation 
voyage which will carry him through the 
Caribbean to Porto Rico and Hawaii, he 
will not find the facilities of the great bat- 
tleship lacking in means for his entertain- 
ment. In addition to a vacation library of 
300 books, the ship's motion picture library 
will carry 41 feature pictures and 35 or 40 
short subjects, some of them not yet gen- 
erally released. 

The films were supplied by United Art- 
ists, Warner, Fox, Metro-Goldwyn-Mayer, 
RKO Radio, Universal, Paramount and Co- 
lumbia. Each film aboard has been checked 
against a list of more than 300 features Mr. 
Roosevelt has seen during the past year. 
Ten of the films carried have been seen by 
the President, but are to be shown for the 
special benefit of the ship's crew. 

The features aboard the Houston are as 
follows : 

"The Last Gentleman" 
"Bulldog DTummond 

Strikes Back" 
"The Affairs of Cellini" 
"The Personality Kid" 
"Doctor Monica" 
"Fog Over Frisco" 

"Murder on the 

"Cockeyed Cavaliers" 
"Crime Doctor" 
"Gambling Lady" 
"Mystery of Mr. X'* 
"Viva Villa" 

"Return of the Terror" "Operator 13" 

"House on Fifty-sixth "I'll Tell the World" 

Street" "Counsellor at Law" 

"Baby Take a Bow" "Scarlet Empress" 

"Handy Andy" "Most Precious Thing 
"Spitfire" in Life" 

"Tarzan and His Mate" "Twentieth Centurv" 

"Twenty Million "The Party's Over" 

Sweethearts" "Murder at the Vanities" 

"Nana" "Many Happy Returns" 

"Manhattan Love Song" "looking for Trouble" 

"Melody in Spring" "The Key" 

"Speedwings" "Now I'll Tell" 

"Half a Sinner" "Sadie McKee" 

"Little Miss Marker" "Thirty Day Princess" 
"The World Moves On" 

A special portable loud speaker has been 
added to the Houston's regular sound equip- 
ment, in the event the President experiences 
any difficulty hearing from his box high 
above the well deck, where the rest of the 
audience is seated. The screen, a 9 x 11 
foot sail cloth, will be 45 feet from the. 
President's box. 

Aylesworth to Address Educators 

Merlin Hall Aylesworth, president of 
National Broadcasting Corporation, will ad- 
dress the annual convention of the National 
Education Association in Washington next 
week. His topic will be "Radio as a Means, 
of Public Enlightenment." 

MGM Engages Mrs. Bolitho 

MGM has engaged Sybil Bolitho, widow 
of the late William Bolitho, to open a Lon- 
don office, assisted by Christine Cooper. 
Mrs. Bolitho will seek screen talent and 

Liberty Sells Product • 

Allied Exchange of California, distrib- 
utor of Liberty product, has sold the first 
four on the Liberty schedule of eight to^ 
the Hollywood Pantages theatre, to the 
Los Angeles in Los Angeles and to the- 
Fox, San Francisco, as first run. 

June 30, 1934 



SIGNED . . . 



Contracts to John Mack Brown, player, and 
John Wexley, writer. . . . Lupe Velez and 
Jack Haley sign for leads in "The Girl Friend." 
. . . John Gilbert, Victor McLaglen, Wynne 
Gibson and Alison Skipworth added to "The 
Captain Hates the Sea." 



Henry B. Walthall engaged for "Serenade." 
. . . Claire Trevor awarded lead in "24 Hours 
A Day." . . . Irving Cummings will direct "The 
White Parade" (Lasky). . . . Irving Pichel 
joins "She Was a Lady.'' . . . Sam Hellman 
doing dialogue and Dorothy Arzner will direct 
"The Captive Bride" (Lasky). . . . Contract 
to Roger Imhof. . . . 



Sidney Fox and Paul Kelly head cast of 
"School for Girls," William Nigh directing. . . . 



Gouverneur Morris and Otto Brower to col- 
laborate on an original, "Anything Once." . . . 
Bob Custer and Lucile Browne cast in "Law 
of the Wild." . . . Norman Dawn to design 
sets for "Young and Beautiful." . . . 



James Dunn opposite Jean Parker in "Have a 
Heart." . . . Franchot Tone assigned to "Four 
Walls," Paul Sloane will direct. . . . George 
Meeker, Bert Roach and James Donlan addi- 
tions to "All Good Americans." . . . Willard 
■Mack to write dialogue for "China Seas.'' . . . 



Marion Orth to write screen play for "Suc- 
cessful Failure." . . . Gloria Shea joins "To- 
morrow's Youth." . . . Melville Brown to direct 
"The Redhead." . . . 



Hans Kraly preparing "All the King's 
Horses" for screen. . . . Leslie Adams assigned 
to "Crime Without Passion." . . . Helen Mor- 
gan signed for "You Belong to Me." . . . 


RKO Radio 

Alice Brady goes into "The Gay Divorce." 
. . . Ralph Forbes, Richard Abbott and Betty 
Alden added to "The Fountain." . . . Lionel 
Atwill and Laura Hope Crews join "The Age 
of Innocence." . . . 



Roscoe Ates and Ruth Gillette additions to 
"Woman in the Dark," Phil Rosen direct- 
ing. . . . 



Esther Ralston replaces Tune Knight and 
».Clara Kimball Young addf.d to "Romance in 
ttuRain." . . . John V. A. Weaver and John 
Halriuer to assist in producing "The Great 
ZieWd." . . . "Castles in the Air" changed to 
"me Up and Dream," . . . Contract to Polly 
W:rs. . . . 


W ler-First National 

ftte Davis and Gordon Westcott go into 
"T Case of the Howling Dog." . . . John 
Ar/lge joins "Flirtation Walk." . . . "Gen- 
tletn A-re Born" to have James Cagney and 
Mgaret Lindsay in cast and Mervyn LeRoy 
aslirector. . . . 

Twice as Much Footage Shown 
In English Theatres as Quota 
Requires and From Only 
Half of Product Available 


London Correspondent 

If American production executives study 
official British film statistics with an appre- 
ciation of their inner meaning they must be 
doing a lot of hard thinking just now. 

The Board of Trade returns showing the 
British production footage actually exhibited 
here in the year ended Sept. 30, 1933, reveal 
that British exhibitors have been devoting 
23.7 per cent of their programs to native- 
made film. 

The percentage is highly significant, to 
New York and Hollywood as well as to 
London, for this reason: the 23.7 quota of 
British films shown compares with an obli- 
gatory quota of only I2I/2 per cent. 
Exhibitors are showing very nearly twice 
as many British films as the law compels 
them to show. 

British films are of two classes: films made 
for exhibition and films made to comply with 
the renters' quota (15 per cent for the year 
in question) and destined for the distribu- 
tors' back shelves. It's hard to arrive at an 
exact percentage here, but a commonly ac- 
cepted estimate is that half the British nega- 
tive footage is "Quota rubbish," made as 
cheaply as possible to the order of American 
distributors and deliberately carried by them 
as a trading loss. 

Twice as Many as Required 

Accepting this figure, the exhibition 
statistics become even more striking. The 
theatres are running nearly twice the num- 
ber of British films stipulated by the Films 
Act, and they are finding them from an ef- 
fective output of British films which is only 
half of the product intended to be available. 

If one assumes that the one quota was 


From waste basket to megaphone, 
or from rags to riches, might be the 
subtitle on this little story of the films. 
Back in 1923 Charles Barton was an 
office boy in the Paramount studio. In 
the course of 11 years in the same 
general location he functioned as prop 
boy, film cutter, assistant director and 
dialogue writer. 

This week Mr. Barton was informed 
he has been raised to the status of a 
director in his own right. His first 
assignment will be as co-director of 
"Wagon Wheels" with Arthur Jacob- 
son, another assistant also promoted 
to the directorial ranks. 

designed to balance with the other, the re- 
sult can be stated in yet another way; those 
concerns which have taken British produc- 
tion seriously and tried to produce enter- 
tainment value are selling, in footage, four 
times as much as the Films Act promised 
them. Translate footage into rentals and the 
figures are very much more in their favor. 

What is the answer, in American terms? 
It can't be that it is either good business or 
good tactics to make British films for the 
ash-can. The distributors' quota this year is 
I71/2 per cent; in 1936 it will be 20 per 
cent — one film in five must be British. A 
"quota quicky" costs £5,000- £6,000. On 
a 30-picture output (American) that will 
let the producer in for £30,000- £36,000 as 
a minimum annual expenditure on British 
production. If you make the sort of film 
turned out so far, the takings per picture 
are going to be from £600- £1,000, with 
annual receipts £ 3, OCX)- £ 5,000, or a yearly 
loss, as the result of trying to beat the 
quota, of £27,000 to £30,000 a year, or 
£1,000 per picture of the American pro- 
gram ! That's without counting handling 

British Enterprise Progresses 

While American distributors make, or 
have made for them, films that are enter- 
tainment material in a technical sense only, 
real British studio enterprise goes from bet- 
ter to better. It has produced "Henry 
VIII" and it will produce many "Henry 
VIII's" — and invade America with them. 
The young apprentice is making better films, 
in England, than the old master will con- 
descend to make, in England — and is invad- 
ing the old fellow's home town. 

If Hollywood, or New York, thinks it 
clever to follow a policy which inevitably 
leads to this sort of result, British produc- 
ers will be delighted to leave America to its 
self congratulations. 

New Hearst Reel Starts 
Lineup of News Gatherers 

Mike Clofine, editor of the new Hearst 
Metrotone News, which will go into action 
in October, has begun to line up a staff of 
cameramen and others who will work under 
his direction. The policy of the reel will 
remain virtually as it is now, it is under- 

When the new reel begins in the fall, 
there will be no break in the regular release 
schedule, the Hearst reel continuing where 
the combined Hearst-Fox product termi- 
nates. E. B, Hatrick, in charge of Hearst 
film interests, has closed a deal with Gau- 
mont Newsreel in England for an exchange 
of clips. Mr. Hatrick is now in Europe, 
where he plans to conclude other deals 
which are designed to give the reel com- 
plete international coverage. 

Carr Recovering 

Tn m Carr, in charge of Monogram pro- 
duction on the Coast, is gaining strength 
rapidly in Cedars of Lebanon Hospital, 
Hollywood, after a minor operation. 



June 30, 1934 



Every Labor Case Successfully 
Arbitrated, Says NRA Organ; 
Ten Committees to Speed 
Decisions of Code Authority 

Possibility of appreciable modification of 
some parts of the NRA code appeared im- 
minent this week as a result of announced 
plans of the National Recovery Adminis- 
tration to revise codes to "eliminate un- 
workable provisions, clauses which involve 
radical prohibitions on respectable sections 
of industries, or conscript unwilling groups," 
and any other sections requiring the strong 
arm of Government for enforcement. 

Await Third Darrow Report 

The industry was awaiting the third and 
final report of the Clarence A. Darrow Na- 
tional Recovery Review Board, for an attack 
more far-reaching in respect to some of those 
connected with the code's administration than 
the first report incorporated,, had been threat- 
ened at the time the first report was made 
public. The final report was to be laid before 
President Roosevelt this week. 

Every labor controversy that has arisen under 
the code has been successfully arbitrated, the 
Administration announced, and in most cases, 
it was said, the arbitration settlements resulted 
in increased wages or employment. 

"The motion picture code is the only one 
in which every employer and every union 
organization of workers in an industry has 
signed an agreement to arbitrate before 
resorting to lockouts or strikes," The Blue 
Eagle, official organ of the NRA, said. 

At the same time it was indicated in Wash- 
ington that cases involving violations of the 
code may be brought before the Federal 
Trade Commission under an arrangement 
worked out for the handling of unfair trade 
practice charges under the codes. 

It is understood a business man will be able 
to carry his case to the commission, which will 
cite the code authority in question to appear 
before it. O.n the other hand, a code authority 
might lodge a complaint, in which event the 
individual would be cited. The commission, it 
was indicated, will sit as a judicial body. 

Plan to Speed Decisions 

In New York, the Code Authority approved 
a plan for the setting up of ten committees 
to hear all appeals and recommend decisions 
in order to prevent the body's activities from 
becoming hopelessly clogged. The Authority 
will have a panel of approximately 50 persons 
to draw from and names of exhibitors, ex- 
change men and other personnel from all sec- 
tions will be on the list. Each committee will 
have one Code Authority member as chairman, 
and every committee will have one distributor 
and an affiliated and unaffiliated exhibitor. Un- 
der the plan, decisions by the Code Authority 
will be made within 15 days after hearings by 

The total of assessments paid to the Code 
Authority as of June 20 was $68,040, of which 
6,259 assentors to the code paid $67,161. 

The Code Authority this week named 103 
impartial alternates on the local code boards of 
29 cities. The New York and Dallas x com- 
mendations have not yet been approved by Mr. 
Rosenblatt. The list of appointees follows: 

Albany: S. Aronowitz, attorney; David C. 
Lithgow, artist; Eugene J. Steiner, attorney; 

Townsend R. Morey, insurance agent and busi- 
ness man; George Myers, counsel. 

Atlanta : E. A. Banker, retired capitalist ; 
Mike Benton, president, Southeastern Fair 
Ass'n; H. E. Choate, president. Chamber of 

Boston : James Humphrey, Sheldon, pro- 
fessor of constitutional government ; Harold F. 
Whitney, professor of government. 

Buffalo: Francis DiBartolo, attorney; 
Charles Freiberg, retired business man; Sam 
Dickey, ex-judge. 

Charlotte: C. M. Westbrook, insurance 
man ; Charles E. Lambeth, president. Chamber 
of Commerce; W. T. Hoppe, Hoppe Motors, 

Chicago: Judge James M. Corcoran, Judge 
Oscar Hebel, Judge Walter LaBuy, Judge 
Eugene Holland. 

Cincinnati: C. Doone Rettig, attorney; 
Joseph O'Meara, Western & Southern Insur- 
ance Co. ; Chester Shook, attorney. 

Cleveland: Herbert Thomas E. Greene, 
Municipal Court. 

Denver : Z. D. Havens, John F. Muller, W. 
Griffin Temple. 

Des Moines : Dean L. C. Hoffman, School 
of Finance and Commerce ; Gardner Cowles, 
Jr., Register & Tribune; John Gibson, Gib- 
son Coal Co. 

Detroit : John R. Watkins, attorney and 
former U. S. District Attorney; Judge Don- 
ald Van Zile, recorder's court ; Judge Guy 
A. Miller, circuit court. 

Indianapolis : Charles S. Becker, Troy G. 

Kansas City : V. P. Thompson, Thomp- 
son-Hayward Chemical Co. ; Fred Wolfson, 
lawyer ; Robert Greenlease, Greenlease Motor 

Los Angeles : Thomas May, president. The 
May Co. ; Carl Bush, secretary, Hollywood 
Chamber of Commerce ; John Treanor, presi- 
dent, Riverside Cement Co. 

M EMPHis : C. A. McEIravy, managing 
director, Ellis Auditorium; Charles Glascock, 
attorney ; E. P. McNeil, Memphis Chamber 
of Commerce ; A. B. Case, attorney. 

Milwaukee : Frederick C. Bogk, Julius N. 
Egerman, Henry C. Fuldner, J. Victor Loewi, 
J. F. Pyle. 

Minneapolis : J. B. Juster, Juster Brothers ; 
John Burgess, vice-president, Northwestern 
National Bank. 

New Haven : T. W. Arnold, professor ; 
William O. Douglas, Walton H. Hamilton, all 
Yale Law School ; Donald D. McDonald, secre- 
tary and treasurer, Bradley, Scoville, Inc. ; 
Walter M. Pickett, judge of Common Pleas 

New Orleans : Ben Beekman, Nicholas 
Bauer, Judge Rufus G. Foster, A. P. Patter- 
son, E. E. Levy, Whitney Bank; Coleman 
Adler, Edgar Stern. 

Oklahoma City : John C. Campbell, presi- 
dent. Fidelity National Bank; Frank Haven, 
vice-president. Liberty National Bank; Sena- 
tor W. C. Fidler. 

Omaha: John Taggert, court reporter; Ed- 
ward B. Crofoot, attorney; Edward Shafton, 

Philadelphia: Alfred Sayres, West Jersey 
Trust Co. ; Carroll H. Deshon, Henry August, 
C. P. A. 

Pittsburgh : A. I. Wise, dentist ; Edward 
Sheinberg, counsellor ; L. H. Kreiger, attor- 
ney ; C. Gillotti, attorney. 

Portland: Walter R. May, manager, Port- 
land Chamber of Commerce ; Flarvey Wells, 
member of legislature; Jack Luihn, manager, 
Seeley-Dresser Co. 

Salt Lake City: Harry L. Finch, . former 
city commissioner ; Harry S. Joseph, mining 

engineer ; Joseph G. Vincent, restaurateur and 
building contractor. 

San Francisco : Capt. Stewart E. Barber, 
retired naval officer ; George T. Williams, 
Bruce Ellis, assistant to publisher, San Fran- 
cisco C all-IB ullctin; John A. Pettis, manager, 
California Manufacturers Ass'n. 

St. Louis : Karl P. Spencer, attorney ; 
Arthur Baer, Stix, Baer & Fuller Dry Goods 
Co. ; Walter Fritsch, vice-president, St. Louis 
Browns Baseball Club ; George Eigel, attor- 
ney ; Russel R. Casteel, attorney. 

Seattle : Bruce Morgan, Judge Kenneth 
Mcintosh ; Col. Harry Matthews ; James R. 
Stirrat ; J. D. Loman ; F. K. Struve. 

Washington: Hon. Leo A. Rover; Joseph 
V. Morgan ; Professor Robert E. Maurer, 
Georgetown L'uiversity School of Law. 

Appealed Cases Settled 

The Code Authority announced the follow- 
ing appeals from Grievance and Clearance and 
Zoning Board decisions had been disposed of : 

Gwynn Theatre Co., Baltimore, complainant, 
X'ersus Forest Theatre Corp., Baltimore, re- 
spondent : determination of Washington Griev- 
ance Board on complaint of Gwynn Theatre 
Co., under Article VI, Part 3, Section 1, of the 
code against the Forest Theatre Corp., unani- 
mously affirmed. 

Dick Gaston, Iowa Theatre, Ft. Madison, 
la., complainant, versus Fox West Coast, 
Strand & O'rpheum theatres. Ft. Madison: 
decision of Des Moines Grievance Board in 
dismissing complaint brought by Iowa Theatre 
under Article VI, Part 2, Section 1 of the code, 
unanimously affirmed. 

Pacific National Theatre, complainant, 
versus Jay-Ben Corp., respondent, both of Los 
Angeles : Jay-Ben Corp. appealed from decision 
of Los Angeles Grievance Board, upon com- 
plaint of the Pacific National Theatre, that 
Jay-Ben has violated provision of Article V-E, 
Part 3, Sections 1, 2 and 3, dealing with 
premiums, giveaways, et al, Local board order 
Jay-Ben to "cease and desist." Code Authority 
upheld their decision on the appeal. 

C. V. Crawford, Magee Theatre, Magee. 
Miss., complainant, versus Sanatorium Thea- 
tre, Sanatorium, Miss., respondent : this thea- 
tre is operated on premises of a state hos- 
pital for prevention and cure of tuberculosis ; 
complaint of Crawford charged exhibition of 
motion pictures to general public by the Sana- 
torium was unfair to his theatre, and the board 
upheld him, as did the code authority. 

Langheinricfi Bros., complainants, versus 
Saxe Amusement Management, Inc., re- 
spondents, both of Milwaukee ; respondent 
charged with holding, at matinee perform- 
ances, demonstrations of cooking by electricity 
and giving away prizes. Milwaukee board 
upheld complainant and Saxe appealed de- 
cision. Code Authority, however, upheld Mil- 
waukee board. 

New Theatre Case 

E. T. Landis, Princess Theatre, Monti- 
cello, la., complainant, versus R. C. Lambert, 
Mrs. Sophie Lambert and Floyd Carter, all 
of Monticello, respondents : Des Moines Griev- 
ance Board, on complaint of Landis, ruled 
that in view of the small (2,200) population 
of Monticeljo, the respondents, who are pro- 
ceeding with the opening of a new theatre 
in the town, should not be allowed the clear.^ 
ance of films from 'disiributors tC. "^"--fdi- 
tional theatre in Monticello." The" *ode 
Authority unanimojsly reversed this dt^sion 
on appeal of the respondents, and directc the 
complaint to be dismissed. 

G. G. Mitchell, Imperial Theatre, ew- 
ton, N. C. — protest to the Charlotte Clea:nce 
and Zoning Board: Imperial Theatre, hfng 
appealed from the determination riiade lay 
11 by the Charlotte Clearance ar^ ZcW . 
Board on protest of Imperial against exisV 
clearance and zoning, and the appei hsvb 
been duly heard by the Code Authcfrity, \ 
Code Authority unanimously , affirmel de'if 
^Continued on page '^4, column 1)V. /t 





. . with ■ , • 

Ben Bernie and a|l his Merry Ldds 
Jack O a k i e * Arline Judge 
AlJson SkipwprtK ' Roscoe Kqrns 
■- Wiltidm Fro w ley • 
• Directed by Wesley Ruggles • . 

JULY.. . 6 pictures, starting with the year's greatest money attraction, 
Mae West in "It Ain't No Sin/' and a great musical/'Shoot the Works'' 


Helen Mock, Edward Everett 
Horton and the Wampas Baby 
Stars of 1934 

Directed by Harlan Thompson 
Atteclote Director, Jean Neguletco 

aB.P.SCHULBERG production 

if it's 



PARAMOUNT PICTURE it's the best show in town! 


■."She Loves Me Not" 


Kitty Carlisle ■ Directed by Elliott Nugent 

Biggest Broadway smash in yeors! 250 consecutive per- 
formances in New York to S. R. O. business. Millions of 
Saturday Evening Post readers followed it serially for weeks. 
Music by two champion song-writing combinations— Gordon 
and Revel and Roinger and Robin. A host af hits, headed 
by "Love in Bloom," "Straight From the Shoulder, Right 
From the Heart." Kitty Carlisle singing love duets with 
Bing Crosby. Miriam Hopkins in a sensational new role 






lee Tracy 
Helen Mack 
Helen IWorgan 

Directed by 

director of 
.•The House of Roth. 


AUGUST 5 "ace'' film entertainments, including a Dietrich production, a 

Bing Crosby-Miriam Hopkins comedy with music, and a picture 
with Gory Cooper, Carole Lombard and Shirley Temple. 


OK) and 



Sir Guy Standing • Charlotte Granville 
Directed by Henry Hathaway 

Two of the biggest box office names in the 
business and the littlest BIG name in motion 
pictures today in a film entertainment jammed 
with romance, heart throbs and excitement. 

if it's a PARAMOUNT PICTURE it's the best show in town! 

SEPTEMBER 5 more outstanding attractions, headed by 
Cecil B. DeMille's ''Cleopatra'^ the biggest box office bet of the year, 
and ''Mrs. Wiggs of the Cabbage Patch/' a sure-fire success. 


Ion Kallh • Joseph Schildkraul • C. Aubrey Smith • G*r(rud* Michael 

This picture promises to be the biggest grosser of the year, 
and perhops, of all time. Mode as only Cecil B. DeMille 
could moke it, it is one of the most stupendous and exciting 
productions ever seen on the screen. 8000 players and 
two acres of stupendous sets form the background for 
the magnificent love story of Antony and Cleopatra. 



Plays i, vv//; f^^ ;'' fao./d b^,^ 

"Mrs. Wir, 

°f 'Millions. 


the best show in town! 

.College Rhythm 

\ W vvifh 

Joe Penner • Lanny Ross • Richard Arlen 
Ida Lupino • Lyda Robert! 

Directed by Norman Taurog 

Right at the time when football hysteria grips the 
nation and people start going places and doing 
things. Paramount will release the topper to "Col- 
ege Humor," a football musical/'College Rhythm." 
With Joe Penner, the No. 1 comedy attraction on 
the air today; Lanny Ross and a great cast of play- 
ers. ..The action will be set to music by the great 
Paramount song-writing team, Gordon and Revel. 

'^"ffff/ej of Re J r - 

OCTOBER ...The BIG Month. ..The Harvest Month for Paramount 
box offices, with four sure-fire successes in "College Rhythm," 
"LImehouse Nights," "Ruggles of Red Gap" and "Pursuit of Happiness." 

///. / ,f 

One of the most 
popular plays in 
New York this year 

All about those good old days when we 
proudly stressed In the Constitution of the 
United States the famous phrase, "life, liberty 
and pursuit of happiness" — and the greatest 
of these was the latter, which brings us to 
'bundling," the delightful subject of this picture. 





Francis Lederer • Joan Bennett 
Charlie Ruggles • Mary Boland 
Walter Kingsford 
Directed by Ralph Murphy 




f it's a PARAMOUNT PICTURE it's the best show in town! 






A fascinating peek into the romantic esca- 
pades of one of the world's most famous 
women — spicy enough to be interesting, 
clever enough to be amusing, daring enough 
to be dromatic. With Cory Grant as the 
No. 1 man in this notorious beauty's life. 

NOVEMtBER ... 6 Top Money Pictures headed by a smash attraction 
in "The Big Broadcast/' a Sylvia Sidney picture and four other big features. 



with John Lodge Directed by MoHon Gering 

Sylvia Sidney as a sweet and simple little savage wtio 
became the most brilliant figure in the v^orld's gayest 
society ... a role which will be perfectly matched for 
Miss Sidney's sincere and charming talents as on actress. 

a B. P. SCHULBERG Production 

"ess" ' '"''e-o ■ 

a Pen of g« 

fro- ..^'^ 

9 oothor 





Directed by 



Directed by 

DECEMBER... Paramount's Christmas tree blazes brightly with two of the 
year's big hits . . . MAE WEST in ''Gentlemen's Choice" and BING CROSBY 
AND KITTY CARLISLE in "Here Is My Heart/' delivered to you for holiday business. 


Sensational Broad- 
way comedy hit 


and an all-star cast 



A sensational interna- 
tional special with a 
huge cast of players. 






i t's a 

PARAMOUNT PICTURE it's the best show in town! 


:tors and writers 1934-35 




PLAYERS Adrienne Ames • Richard Arlen • George Barbier • Mary Boland • Whitney Bourne 
Grace Bradley • Carl Brisson • Geo. Burns & Gracie Allen • Kitty Carlisle • Claudette Colbert 
Gary Cooper • Larry Crabbe • Eddie Craven • Bing Crosby • Alfred Delcambre • Katherine DeMille 
Marlene Dietrich • Jessica Dragonette • Frances Drake • W. C. Fields • William Frawley • Frances Fuller 
Paul Gerrits • Gwenllian Gill • Cary Grant • Jack Haley • Charlotte Henry • Miriam Hopkins 
Dean Jagger • Roscoe Karns • Charles Laughton • Baby LeRoy • John Lodge * Carole Lombard 
Pauline Lord • Ida Lupino • Helen Mack • Fred MacMurray • Julian Madison • Margo • Joan Marsh 
Herbert Marshall • Gertrude Michael • Raymond Milland • Lillian Moore • Joe Morrison • Lloyd Nolan 
Jack Oakie • Lynne Overman * Gail Patrick • Joe Penner • George Raft • Claude Rains • Lyda Roberti 
Lanny Ross • Jean Rouverol • Charlie Ruggles • Randolph Scott • Clara Lou Sheridan • Sylvia Sidney 
Alison Skipv/orth • Sir Guy Standing • Colin Tapley • Kent Taylor • Eldred Tidbury • Lee Tracy 
Evelyn Venable Mae West • Henry Wilcoxon • Dorothy Wilson • Howard Wilson • Toby Wing 

DIRECTORS Charles Barton • Will iam Beaudine • Cecil B. DeMille • James Flood • Marion Gering 
Alexander Hall • Henry Hathaway • Arthur Jacobson • Mitchell Leisen • Ernst Lubitsch • Leo McCarey 
Norman McLeod • Wm. Cameron Menzies • Ralph Murphy • Jean Negulesco • Elliott Nugent 
Gilbert Pratt • Wesley Ruggles • Edward Sedgwick • Arthur Sircom • Norman Taurog 
Harlan Thompson • Frank Tuttle • Charles Vidor • Josef von Sternberg • Alfred Werker 

WRITERS Frank R. Adams • Charles Barton* • Claude Binyon • Charles Brackett • Laurie Brazee 
Dana Burnet • Bartlett Cormack • Jack Cunningham • Walter DeLeon • Finley Peter Dunne, Jr. • Guy Endore 
Herbert Fields • Garrett Fort • Lewis Foster • Howard Green • Elmer Harris • Ben Hecht"^ • Cyril Hume 
Grover Jones • Paul Jones • Vincent Lawrence • Gladys Lehman • Charles Logue • Charles MacArthur"^ 
Jeanie Macpherson • Doris Malloy • Francis Martin • John McDermott • J. P. McEvoy • Wm. Slovens McNutt 
Wm. Cameron Menzies* • Alice D. G. Miller • Jack Mintz • Paul Moss • Seena Owen • Frank Pa rtos 
Humphrey Pearson • Arthur Phillips • Gilbert Pratt* • Marguerite Roberts • Peter Ruric • Harry Ruskin 
Dore Schary • Raymond L. Schrock • Chandler Sprague • Jane Storm • Harlan Thompson* • Keene Thompson 
Dale Van Every • Virginia Van Upp • Bobby Vernon • Garnett Weston • Waldemar Young 

Also Directors 

June 30, 1934 






The problems of corporate reorganization 
are not the sole cause of the occasional head- 
aches of the Paramount Picture manage- 
ment. Mae West's kisses are another source. 

It seems that the recording technicians at 
the studio in Hollywood who were putting 
Mae's dialogue onto film during the produc- 
tion of "It Ain't No Sin," had found the 
blonde "siren's" voice a "cinch" to handle, 
until Mae started a love scene with Roger 
Pryor, her yoimg leading man. Then the 
trouble started. 

"Smack!" went the first kiss, and E. L. 
Kerr, technician in charge, asked for an- 
other "take" so that he could pull the micro- 
phone back a bit and diminish the intensity 
of Mae's osculation. 

"Smack!" went the second, and Harry 
Mills, the sound mixer, reported too much 
volume sizzling through the wires into his 
sound booth. 

Director Leo McCarey cautioned Mae to 
take it easy, and she agreed. But a third at- 
tempt shocked the recording apparatus again. 

Mae, a bit nonplussed over the reactionary 
effects of her love making on science, in- 
formed all present that if she kissed her 
leading man at all, she would have to do it 
roundly — let the sound tracks fall where they 

And, so, the Paramount Pictures Corpora- 
tion wrapped a piece of silk around the mic- 
rophone to dampen the vibrations. 


The Blue Eagle is just one year old, and 
although the lusty yells of the infant indicate 
healthful vitality, some folks in independent 
motion picture quarters regard it as being a 
backward bird in the matter of teeth. 


Turning the corner at Fifth aiid Walnut in 
Cincinnati, one might observe a frame in the 
lobby with a hand-lettered panel reading : 
Carefully Cooled 


Loaded on to the carefully scrubbed decks of 
the battleship Houston, commissioned to take 
President Roosevelt on a vacation through 
the Canal to the Pacific will be his private 30- 
foot launch, a complete library of nautical 
works and mystery novels, fishing tackle 
aplenty, two powerful radios, a band selected 
from both fleets and 40 of the newest motion 
pictures — all intended for Mr. Roosevelt's per- 
sonal enjoyment while sailing the deep briny 
blue. Any Republican faction in the industry 
could inject a bit of campaign politics into the 
situation by complaining that free shows are a 
violation of the motion picture code. 


The name of Major Manny Cohen still ap- 
pears as editor of Paramount News in New 
York, a position from which he was suddenly 
catapulted clear across the Continent, some two 
years ago, to the vice-presidency in charge of 
Paramount production. 


Fredric March was reminiscing about his old 
trouping days in the South. 

"What kind of a run did you have in 
Savannah?" he was asked by a native son. 

"We beat the audience over the county line 
by three minutes," answered Freddie. 


Morrie Ryskind, discussing the foreign debt 
situation with Newspaperman Frank Adams, 
said he can't see why France, having defaulted 
four times in succession, doesn't own the money 

Eddie Cantor, writing in the Saturday 
Evening Post, says he never really knew how 
many relatives he had until he made a suc- 
cess. "When I earned my first $2, one 
amateur night at the old Miner's theatre on 
the Bowery, I was alone in the world, an 
orphan," sighed Eddie. "By the time Zieg- 
feld starred me in 'Kid Boots,' I had a tidy 
little family of 14 relatives. My first talking 
picture 'Whoopee,' brought me 32 pairs of 
uncles and aunts, 212 cousins and a brand- 
new grandfather as a bonus," he added. 

Eddie didn't start to have second cousins un- 
til he went on the air, and when he made 
personal appearances, he picked up two 
nephews and five third cousins once removed 
from his aunt's side in each town visited. 
None of Eddie's relatives wanted anything 
from him, except the rent, some assorted 
suburban homes, trips to the Coast, weekly 
checks of any amount of $60 and up, or vol- 
unteered to move in with him — he could take 
his choice. 


Benito Mussolini from time to time has ex- 
pressed his views none too delicately on the 
moral merits of American motion pictures. In- 
fluences disturbing to Italian home life too 
often creep into the American motion picture, 
Mussolini frequently has said, and often he 
has urged his blackshirts to refrain from visu- 
ally participating in the shoiving of our pro- 

However, it was learned last week at first 
hand, through undeniably authoritative chan- 
nels, that, contrary to his public expressions in 
this connection, II Duce spends many an evening 
privately inewing with much satisfaction those 
same American films. 


Probably influenced by the impressiveness 
of the many weighty decisions made during 
the week for the new season by managing 
studio and corporate officers who are intent 
upon bringing order in 1934-35 out of the last 
of the business chaos of 1933-34, the cor- 
porals in charge of the MGM studio com- 
missary in California assembled the other 
day in special executive session in the back 
kitchen and decided that henceforth all of 
the company's actresses wearing hoopskirts 
during production shall be barred from eat- 
ing in the studio restaurant. This unprece- 
dented action was taken on the grounds that 
such expansive apparel extends from the 
pivotal point too far into the aisles, thereby 
impeding traffic, and, furthermore, because 
it covers up too many vacant chairs, thereby 
increasing the hunger pangs of the Garbos, 
the Barrymores, Laurel and Hardy and other 
Hamlets of the lot. 

It appears, then, that in the future hoop- 
skirt wearers will be compelled to effect a 
change of wardrobe on their lunch hour, un- 
less, of course, they decide to dine off the lot, 
or Mr. Mayer calls off all hoopskirt produc- 


"Whom do you think is the best dressed 
woman on the screen?" — L. Bamberger De- 
partment Store's advertisement in Photoplay. 

Well, whom is? 


Paramount has engaged one "Duke" 
Yorke to appear in "Elmer and Elsie." 
Duke travels the continents offering a cash 
prize to anyone who can make him smile. So 
far, he has not paid out a dime. After a few 
days in Hollywood he will be laughing right 
out loud. 

T HE members of a Fox company on loca- 
tion at Bridgeport, California, were quite 
surprised the other day when Jack Frier, an 
electrician, boldly interrupted the filming of 
a scene, and begged Doris Lloyd not to 
smash a picture frame which Miss Lloyd had 
just taken from a wall, as prescribed in the 
script. It appears that the frame held the 
picture of Fanny Midgley, who died in 1932. 
She on many occasions had played mother 
roles for Wallace Reid, Charlie Ray and 
others, and before her death she had been 
under contract to Fox for quite some time. 
Preparing the company for its location trip, 
a property man at the studio happened to 
pick up Miss Midgley's picture from the 
storeroom, not knowing, of course, that she 
had been the wife of Electrician Frier. 


Read Kendall, in California, passes along the 
story about a group of extras, hired to play 
Russian soldiers for Warners' "British Agent," 
who delayed production because they were un- 
able to understand the operation of some obso- 
lete rifles used in Russia during the last war. 
One of the group stepped forward and volun- 
teered to instruct the men. His colleagues knew 
him as Boris Carli, but they did not knozv that 
in more palmy days Mr. Carli zvas the manu- 
facturer of those guns. 


From Hollywood, via Johnny Chapman, 
comes the yarn about the movie "big shot" 
who had just put an important actor imder 
contract and was at a party given in honor of 
his new stdr. 

The producer attached himself to the star's 
wife and gabbed: "I've got the most mar- 
velous story for your husband." 

"What is it?" inquired the star's wife, po- 

"It's called 'Loss Miserabuls.' " 
"What's it about?" 

"Well, it's — it's about a fellow who spends 
20 years on the gallows. It s a sort of 'I'm 
a Fugitive from a Chain Gang' in costume." 


Hi-hattin' Hollywoodians might take a lesson 
from little Mary Brian. 

Passing through Memphis via plane, the 
other day, she alighted for the usual re-fueling 
period of 15 minutes. Newspaper men, in- 
formed in advance that she would be on the 
westbound plane, did not arrive in time since 
she actually was on the ship headed east, which 
got in hours earlier. 

When an airline official told Miss Brian of 
the mistake, she went to a telephone, called 
the city desk at the Commercial Appeal, and 
was briefly and graciously interviewed over the 
wire. One of the pilots took her picture with 
a pocket camera ; the paper blew it up to two 
columns and placed over it this caption : "Mary 
Brian No High Hat Film Star." 

In sharp contrast to Miss Brian's sociability 
was the behavior of Kay Francis, Warner star, 
when she arrived at Newark Airport from 
Hollywood, last week, en route to Europe. Miss 
Francis flew in a rage at a newspaper photog- 
rapher who had snapped her picture. She aban- 
doned the chase and managed a smile for a 
photographer sent to the airport by the War- 
ner executive offices in nearby New York. If 
news cameramen had not been on hand to snap 
the dainty lady, she probably would have 
charged Publicity Director Einfeld's forces with 
neglect of duty. 


. Aid Al Schivartz reports that a Bronx the- 
atre owner is hiring only midget ushers, so the 
audience ivill look bigger. 


Modified Clauses 
In Code Awaited 

(.Continued from page 22) 

mination of the Charlotte board, to take effect 
with releases of the 1934-35 season. 

Sawpits Theatre Corp., Embassy Theatre, 
Port Chester, N. Y., complainant, versus 
Skouras Theatre Corp., Universal Pictures 
Corp., Metro-Goldwyn-Mayer Distributing 
Corp., Fox Film Corp., Columbia Pictures 
Corp., RKO Distributing Corp., United 
Artists Corp., Warner Bros. Pictures Corp. 
(Vitagraph, Inc.), respondents. The Code 
Authority modified the ruling of the New York 
Grievance Board to this effect : Skouras 
Theatres shall prepare a list of 44 features from 
all the pictures remaining to be played at 
the Capitol theatre under contract for the 
1933-34 season and shall divide the 44 into 
two groups of 22 each, and shall submit both 
groups to the complainant, and the complainant 
shall choose one of the two groups, and 
Skouras Theatres is directed to release the 
pictures in that group under license agreements 
with the distributors, and the respondent dis- 
tributors are directed to make those pictures 
available to the complainant under terms and 
conditions which "shall be no less favorable 
to each distributor concerned than those con- 
tained in the license agreement with the Skouras 
Theatre Corporation." 

Local Board Decisions 

In the field, local boards made these de- 
cisions : 


Clearance and Zoning Board in matter of 
Crandell Theatre, Chatham, vs. Playhouse and 
Park theatres at Hudson, unreasonable clear- 
ance cited, rendered decision giving 14 days' 
clearance for the Playhouse over the Crandell 
and open booking for Park and Crandell thea- 


Exchanges were ordered not to supply film 
to Nathan Bornkessel, non-theatrical account, 
on complaint that Bornkessel was showing pic- 
tures free on a screen placed on an extension 
out over Lake Ontario to attract attention to 
a concession. 


Ten-cent theatres were seeking adjustments 
in new clearance and zoning schedules which 
will give them a better break in earlier films. 


First "cease and desist" decision rendered by 
grievance board was in the case of P. R. 
Touney, Princess Theatre, Wasseon, against 
Guy Johnson, operating free shows in Lyons, 
Metamora and Otrakee, and against M. E. 
and Lou Hensler, operating free shows in 
Brailey, Liberty Centre and adjacent towns. 

The free shows were designated by the 
board as non-theatrical and distributors were 
ordered to cease service to them. 


Grievance board ordered J. Richman, Pearl 
Theatre, to stop admitting children for five 
cents on the ground that it is below the scales 
specified in his contracts. 

St. Louis 

Clearance and Zoning Board denied the re- 
quest of Publix Great State Theatres, Inc., 
that its first runs in Quincy, 111., be granted 
14 days' clearance over theatres in Palmyra, 
Mo., and Barry, Mo. 

Washington, D. C. 

Film deliveries to Moe Kohn, Leader Thea- 
tre, Baltimore, Md., have been ordered stopped 
by the Grievance Board on the ground that 
he failed to obey the board's order to stop 
issuing advertising passes. 


Allied Meets in New York; 
Wisconsin Group Convenes 

Two state affiliates of Allied were in con- 
vention during the week. The New York 
group met at Buffalo on Wednesday, Presi- 
dent Sidney Samuelson being the principal 
speaker. At Lake Geneva, Wisconsin, the 
state association convened Thursday morn- 
ing, with some 200 in attendance to discuss 
the "clean film" crusade, percentage, pre- 
ferred playing time, unfair clearance and 
other trade problems. F. J. MacWilliams is 
president of Allied of Wisconsin. 

Irving Trust Is 
Named Permanent 
Trustee of RKO 

Radio-Keith-Orpheum Corp., in equity re- 
ceivership since January 27, 1933, is now in 
a position to proceed with reorganization 
under the new provisions of the federal 
bankruptcy law. The company was the first 
large corporation in the country to file ap- 
plication to take advantage of the new bank- 
ruptcy law. The move resulted on Tuesday 
in the appointment by Federal Judge Alfred 
C. Coxe of the Irving Trust Company as 
permanent trustee of RKO, under the pro- 
visions of the newly enacted law. All ob- 
jections to the appointment of Irving Trust 
were over-ruled by Judge Coxe. 

In Hollywood, B. B. Kahane this week 
took over active production supervision of 
RKO Radio Pictures, with his associate pro- 
ducers consisting of Pandro Herman, sched- 
uled to make 13 features for the new season; 
Kenneth MacGowan, six ; Lou Brock, four ; 
Merian C. Cooper, a minimum of two, with 
the balance of the program divided between 
Richard A. Rowland, B. H. Fineman, ClifT 
Reid, H. N. Swanson and Glendon Allvine. 

Alfred Savoir, Playwright, 
Dies in Paris at Age of 51 

Alfred Savoir, noted French playwright, 
died at his home in Paris on Tuesday. He 
was 51 years of age. 

M. Savoir, who in 1927 came to New 
York to write scenarios at the Paramount 
studios in Astoria, L. I., was known the 
world over as an author of typical French 
comedies, although he was a Pole by birth. 
Among his best known plays were "Blue- 
beard's Eighth Wife," "The Grand Duchess 
and the Waiter," "Bellboy," "La Petite 
Catherine," "He," "Cocktail" and many 
others. The playwright also wrote the 
original story for the Maurice Chevalier 
picture, "Love Me Tonight." ' 

Supply Dealers Move 

Headquarters of the Independent Supply 
Dealers' Association have been moved from 
Baltimore to the Paramount Building, New 
York. J. E. Robin is president, and Joe 
Hornstein vice-president. 

Joe Kane with Mascot 

Joe Kane, for three years associated with 
Charles R. Rogers at Paramount, has joined 
Mascot Pictures as a production supervisor. 
His first will be "Waterfront Lady." 

June 30, 1934 

IV irner and Erpi 
Settle Royalties 

(Continued from page 15) 

efficacy of sound to short subjects, permit- 
ting vaudeville acts and playlets. 

Still there was no "Jazz Singer" when 
the contract of 1927 was drawn up, giving 
Warner Brothers a substantial share in 
Western Electric's income from sound, as 
Western's co-worker in its commercial de- 
velopment. At that time Western took over 
the activities of the Fox-Case laboratory in 
developing sound-on-film. Participating 
only in the financial benefits accruing to 
Western from sound-on-disc, Warner in- 
terests lay in the retention and fostering of 
that method, which situation, however, 
failed to deter Western Electric scientists 
from pursuing the perfection of sound-on- 

Then, in the fall of 1927, came "The 
Jazz Singer." Western Electric (now 
more immediately, Erpi) and Warner 
Brothers, in contractual cooperation, had 
put the thing over. In Europe, as well as 
America, reproducing equipments other 
than Western Electric were brought for- 

In the United States one heard these 
others (except Photophone) called "boot- 
leg" equipment, and one of the first was 
the Pacent Reproducer. It is now an Erpi 
contention that Warner broke faith by 
backing this competitive apparatus. In 
1931, in an injunction suit brought by 
Western against Sol Wallerstein, Buffalo 
exhibitor, charging patent violations in his 
Pacent equipment, Warner Brothers took 
over the defense. 

Nathan Miller, former governor of the 
State of New York, was one of the mem- 
bers of the Warner-Erpi arbitration board. 
So were Frank Hogan, of Washington, D. 
C, and Judge Hiscock, of the New York 
court of appeals. Judge Hiscock succeeded 
Samuel Untermyer, New York corporation 
attorney, who resigned in 1930 upon asso- 
ciating himself with Fox Film Corporation 
during reorganization of that company. 

Prominently associated with the Warner 
legal talent during the controversy were 
George E. Quigley, president of Vitaphone 
Corporation ; Abel Gary Thomas, Warner's 
general counsel, and Senator Pepper, of 
Pennsylvania. Representing Erpi's inter- 
ests were Green and H'urd, New York legal 
firm; J. E. Otterson, head of Electrical Re- 
search, and Whitford Drake, vice-president. 

Included among the suits filed by Warner 
interests against A. T. and T., Western 
Electric and Erpi, in addition to the pro- 
ceedings involving the royalties claimed by 
Warner, was one charging the telephone- 
sound group with violating the federal anti- 
trust statutes. 

Schulberg in New York; 
May Work Independently 

B. P. Schulberg arrived unexpectedly in 
New York on Tuesday, from the Paramount 
coast studio, where he is an independent 
producer. Dispatches received in New York 
from Hollywood preceding Mr. Schulberg's 
arrival indicated that he is considering pro- 
duction under his own banner, possibly 
under a deal with Erpi. 

June 30, 1934 





Advance outlines of productions nearing 
completion as seen by Gus McCarthy of 
Motion Picture Herald's Hollywood Bureau 

il "l 



With this picture, Waxner Brothers picks up 
again the music, song-dance, girl-glamour spec- 
tacles of a year ago. However, moving in an 
atmosphere of youth, glory and hurrah, its ro- 
mance tinged with contrasting comedy and 
drama, the locales being an Hawaiian Army 
Post and West Point Military Academy, it's 
an entirely different kind of musical. 

The yarn is an original by Delmar Daves and 
Lou Edelman. Music and lyrics, several of the 
songs sounding like potential hits, are by Mort 
Dixon and Allie Wrubel. Dances were directed 
by Bobby Connolly, New York stage dance 
director. Direction is by Frank Borzage, whose 
most recent credits are "No Greater Glory" 
and "Little Man, What Now?" 

Dick Powell and Ruby Keeler ("20,000,000 
Sweethearts") have the leading roles. Pat 
O'Brien, currently in "The Personality Kid," 
Ross Alexander, Guinn Williams, Henry O'Neil 
and John Arledge are included among the more 
familiar names in the supporting cast. A new 
personality, Glenn Boles, recruited from the 
New York stage, makes his screen debut. 

Scores of girls, beautiful costumes and color- 
ful production settings insure the eye-spectacle 
accompanying the musical background. Open- 
ing in Honolulu, where Private Powell and 
the General's daughter. Ruby Keeler, witness- 
ing an exotic native festival, fall in love, the 
story runs the gamut of eye and ear entertain- 
ment until it is climaxed in West Point. There, 
with all the glamour, always patriotically thrill- 
ing, that accrues to the Cadets, the two lovers 
are leads in a student play that counterparts 
the event that first brought them together. 

It looks like a vehicle calling for all the color- 
ful hullabaloo that was used in exploiting the 
previous Warner "42nd Street," "Footlight Pa- 
rade," and so on, with colorful West Point 
thrown in for good measure as smash show- 


A mere listing of the production values of 
"Caravan" indicates its entertainment poten- 
tialities. The title is short, quick and alluring. 
The production is based on the novel "Gypsy 
Melody" (explanatory of its atmosphere) by 
Melchior Lengyel. It's a colorful, lilting, mu- 
sical romance. The screen play is by Samson 
Raphaelson, scenarist of "Trouble in Para- 
dise," "One Hour With You" and the forth- 
coming "Merry Widow." Eric Charell, known 
to American exhibitors for his work on "Con- 
gress Dances," is the director. The music is 
by Werner Richard Hermann. Lyrics are by 
Gus Kahn. Three of the numbers, the theme 
song, "The Caravan Song," "The Wine Song" 
and "Ha Cha Cha," have that rhythmic swing 
that presages popularity. Not to be overlooked 
are the artistic settings, designed by William 
Darling, who made the sets for "Cavalcade." 

The cast is exceptional. It stars Charles 
Boyer, previously seen in minor roles in "The 
Magnificent Lie" (Ruth Chatterton) and "Red 
Headed Woman." He is a noted continental 
actor. It teams Loretta Young, now in "Roth- 
schild" and "Born to Be Bad," with him. In 
support it has Jean Parker, recently in "Little 
Women," "Lazy River" and "Operator 13" ; 
Phillips Holmes, in a romantic role similar to 
that of "Nana" ; Louise Fazenda, Eugene Pal- 

lette, C. Aubrey Smith, currently in "Roth- 
schild," "Scarlet Empress" and "Cleopatra," and 
in minor roles, Charley Grapewin, Noah Beery, 
Dudley Digges, Lionel Belmore, Billy Bevan, 
Armand Kaliz and Harry Bradley. 

Essentially a musical, semi-operetta, the pic- 
ture is being produced on an extensive scope, 
insuring spectacular color, grouping and action. 
Basically, the motivating story is romantic, deal- 
ing with a girl who married by contract be- 
cause she didn't know the man her uncle had 
picked out for her. It appears to be the kind 
of musical at which Fox has been aiming — 
different yet cleverly attuned to a popular pitch, 
that makes interest creation an easy job. 



A romantic drama, this story is adapted from 
a novel by Edith Wharton, widely read author 
of short stories and books, and the stage play by 
Margaret Ayer Barnes. The screen play is by 
Sarah Y. Mason, who adapted "Little Women," 
and Victor Heerman, who collaborated with 
Miss Mason on that success. Direction is by 
Philip Moeller. 

The cast is headed by Irene Dunne, currently 
in "Stingaree," and ]ohn Boles now appearing 
in "The Life of Vergie Winters." The support- 
ing cast includes Julie Haydon, long absent 
from the screen but who appeared in "Golden 
Harvest" and "Song of the Eagle" ; Lionel At- 
will, Laura Hope Crews, Herbert Yost and 
Helen Westley among the better known names, 
listing also the comparatively new Theresa Con- 
nover, Edith Van Cleve and Leonard Carey. 

Very much in the nature of a problem play, 
the yarn has its locale in New York and is 
timed to the late Victorian era, about 1875. 
Motivated by the intense anti-divorce feelings 
of the upper social strata, it presents Helen 
Westley as the social and ethical dictator of the 
day. Her granddaughter, Julie Haydon, is 
about to marry Boles, when Miss Dunne, also 
a granddaughter, separated from her titled Eu- 
ropean husband, comes home to be divorced. 
She and Boles had been childhood sweethearts. 
As a lawyer he handles her case and the old 
love is reawakened. However, as position, pres- 
tige and future depend upon keeping his word. 
Boles weds Miss Hayden. The association with 
Miss Dunne is kept up, however, threatening 
any moment to explode its dynamite but in the 
end being worked out so that Miss Dunne re- 
turns to Europe and husband and wife are left 

The background of the story, illustrating the 
strict social-moral thought of the time, estab- 
lishes a modern parallel, suggests a type of 
showmanship, which combined with name yalues 
should be conducive to timely interest. 



This is an unusual modern romance drama. 
Written by a woman, focusing all its action 
and activity on a woman, it should have strong 
woman appeal. The original story by Elizabeth 
Cobb (daughter of Irvin Cobb) appeared 
serially in McCalls Magazine. The screen play 
is by Gertrude Purcell, adapter of "Another 
Language" and "Palooka." The director, Ham- 
ilton McFadden, did "Stand Up and Cheer," 
"As Husbands Go" and "The Man Who Dared." 

The cast is composed entirely of well known 

screen names. Helen Twelvetrees is the lady. 
Her most recent pictures are "All Men Are 
Enemies" and "Now I'll Tell." In support are 
Donald Woods, seen in "The Earth Turns," 
"The Merry Wives of Reno" and currently 
"Charlie Chan's Couragei" ; Ralph Morgan, 
recently in "The Power and the Glory," Mon- 
roe Owsley, whose first success was with Ann 
Harding in "Holiday" and recently in many 
pictures ; Doris Lloyd, Barbara Weeks, a prom- 
ising newcomer ; Jackie Searl and Karol Kay. 

Human interest motivates the story. It tells 
of a girl, daughter of a British remittance man, 
who upon his death sought her rightful place 
only to be rebuffed. Narrating technique, while 
preserving some of the color of sophisticated 
drawing room stuff, has seen to it that an ele- 
ment of adventure is maintained. The locales 
are colorful and exciting — a western ranch, a 
small-time traveling circus, an aristocratic old 
English manor house, the pretentious home of 
showy American wealth, a New York gam- 
bling night club. As it relates the girl's efforts 
to win her rightful place, it plumbs those ele- 
ments that usually can be counted upon to stir 
the most sympathetic feminine emotions, it prom- 
ises powerful drama and touching romance. 
Both elements have demonstrated their enter- 
tainment appeal too many times to need any 
further detailing as to how they should be called 
to popular attention. 



This can be described most adequately as a 
farcical, hectic, action-packed comedy with a 
laugh in almost every situation and line of 
dialogue. The story is an original by Sy Bart- 
lett, author of "The Big Brain." The screen 
play is by Bartlett and Manual Seff, who 
worked on "Footlight Parade," "The College 
Coach," "Bedside" and "Fur Coats." William 
Keighley, who is directing, is previously cred- 
ited with "Easy to Love," "Journal of Crime" 
and "Dr. Monica." 

The cast lists many familiar Warner names. 
Joan Blondell has the lead. Glenda Farrell is 
teamed with her. Regulars listed include Hugh 
Herbert, Gordon Westcott, Hobart Cavanaugh 
and Renee Whitney. Osgood Perkins, recently 
on the New York stage, makes his screen debut. 
Name values are strengthened by Robert Arm- 
strong, Vince Barnett, Ivan Lebedeff and T. 
Roy Barnes. 

Essentially it's a story of mugs and molls. 
Starting as a pair of Kansas City manicurists, 
production coloring being in keeping with the 
story intent, the misses Blondell and Farrell 
proceed to get themselves into no end of excit- 
ing and amusing trouble. Given a "sparkler" 
by Gangster Armstrong, Joan quickly loses it 
to glib Wescott, a super-romantic crook. De- 
ciding to beat it, they have Armstrong on their 
heels, when they become embroiled with Cava- 
naugh and Barnett en route to New York and 
Paris. There, after Armstrong has forced him- 
self on Herbert as a bodyguard aboard ship, 
the whole pack become embroiled in a pros- 
pective divorce case that promises to be a classic 
of foolish hilarity, in which knock-'em-round 
action plays an effective part. 

Directed straight at the masses, with rapid- 
fire action provoking any number of surprises, 
this show apparently calls for colorful, all- 
laugh suggesting showmanship which effectively 
combines the appeal of personnel, story and 
production values. 



June 30, 1934 


Following is a listing of "Leading 
Motion Pictures," for the period April 
15 to May \5, as complied in the 
office of Mrs. T. G. Winter, Public 
Relations Department, Motion Picture 
Producers and Distributors of Amer- 
ica, Hollywood office. 

Best of the Month 

The Last Gentleman. United Artists. 
Director : Sidney Lanfield. Story by Katherine 
Clugston. Cast : George Arliss, Janet Beecher, 
Edna May Oliver, Ralph Morgan. George 
Arliss again plays the role of a crotchety, lov- 
able old gentleman who cunningly uses his wits 
to set a few things right before he dies. Adults 
and young people. Too mature for children. 

Social Drama 

Half a Sinner. Universal. Director : Kurt 
Neumann. From the play, "Alias the Deacon," 
by Leroy Clemen and John B. Hymer. Cast : 
Berton Churchill, Sally Blane, Joel McCrea, 
Russell Hopton, Mickey Rooney. A fair piece 
of ordinary program material. Adults and 
young people. 

Hell Cat. Columbia. Director : Al Rogell. 
Cast : Robert Armstrong, Ann Sothern, Minna 
Gombell, Benny Baker. Some good acting and 
comedy, lovely clothes and variety of back- 
ground. Family. 

Isle of Fury. Warner Brothers. Director : 
Michael Curtiz. Based on the play by Robert 
Gore-Browne and J. L. Hardy. Cast : Wil- 
liam Powell, Edna Best, Colin Clive. The love 
story has a certain charm, as it unfolds a young 
wife's realization that her husband is to her the 
great reality. Adults and young people. 

Merry Andrew. Fox. Based on the play 
by Lewis Beach. Director : David Butler. Cast : 
Will Rogers, Peggy Wood, Mary Carlisle, Paul 
Harvey. Will Rogers in the amusing and some- 
what pathetic role of a small town business man 
forced by his wife to sell out his beloved little 
drug store to a "chain," and thereafter making 
himself and everyone else miserable inventing 
ways to spend his time. Family. 

Most Precious Thing In Life. Columbia. 
Based on the story, "Biddy," by Travis Ingham. 
Director : Lambert Hillyer. Cast : Jean Arthur, 
Donald Cook, Richard Cromwell, Anita Louise. 
The fine human story of a frail little "Biddy" 
in a college dormitory who finds her long lost 
son occupying one of the rooms she cleans. 

Such Women are Dangerous. Fox. Direc- 
tor : James Flood. From the story, "Odd 
Thursday," by Vera Caspary. Cast: Warner 
Baxter, Rochelle Hudson, Herbert Mundin, 
Rosemary Ames, Henrietta Crosman. A pleasant, 
clean and charming little romantic social drama 
of today. Family. 

Whirlpool. Columbia. Original story by 
Howard Emmet Rogers. Director : Roy Wm. 
Neill. Cast: Jack Holt, Lila Lee, Allen Jen- 
kins, Rita LaRoy. A grim whirlpool which 
guards escape from a penitentiary symbolizes 
the dangerous eddies of life outside to a man 
who is released after serving a sentence of 
twenty years. Adult and young people. 

The Witching Hour. Paramount. From 
the stage play by Augustus Thomas. Director: 
Henry Hathaway. Cast: Sir Guy Standing, 
John Halliday, Judith Allen, Tom Brown, Olive 
Tell, Wm. Frawley. The swing from the older 
generation to the younger is well done, and the 
common human characteristics of both genera- 
tions are preserved. Adults and family. 

Light Romance 

Change of Heart. Fox. Director : John 
Blystone. Story by Kathleen Norris. Cast : 

Janet Gaynor, Charles Farrell, Sally Eilers, 
James Dunn, Beryl Mercer. A sweet romantic 
story which is happily suited to the reunion of 
Janet Gaynor and Charles Farrell as screen 
lovers. Family. 

Twenty Million Sweethearts. Warner 
Brothers. Director : Ray Enright. Cast : Ginger 
Rogers, Pat O'Brien, Dick Powell. A clean 
and entertaining revue of radio studios and 
favorites. Family. 

Thirty Day Princess. Paramount. Direc- 
tor : Marion Gering. Original story by Clar- 
ence Buddington Kelland. Cast : Sylvia Sidney, 
Cary Grant, Edward Arnold, Vince Barnett, 
Ray Walker. The princess of a mythical king- 
dom is set down in America instead of in her 
land of romance, and when she has the mumps, 
high international finance demands that a double 
shall take her place. Family. 


Call It Luck. Fox. Director: James Tin- 
ling. From a story by Dudley Nicholls and 
Lamar Trotti. Cast: Herbert Mundin, Pat 
Patterson, Charles Starrett. When a London 
"cabby" wins a small fortune as a sweepstake 
prize, he brings his lovely young niece to New 
York, is quite completely "fleeced" by confidence 
men, but finds a way to get even. Family. 

The Circus Clown. Warner Brothers. 
(Formerly called "Sawdust.") Based on a 
story by Bert Kalmar and Harry Ruby. Direc- 
tor : Ray Enright.. Cast : Joe E. Brownj 
Patricia Ellis, Dorothy Burgess. The glamour 
of life under the "big tent" is seen through the 
eyes of a wide-mouthed country boy. Adults 
and young people. 

Embarrassing Moments. Universal. Direc- 
tor : Edward Laemmle. Original by Wm. 
Anthony McGuire. Cast : Chester Morris, 
Marion Nixon, Walter Woolf, Alan Mowbray, 
Henry Armetta, John Wray. Chester Morris, 
as an inveterate practical joker, makes life 
miserable for all his friends and acquaintances. 
Adults and young people. 

Friends of Mr. Sweeney. Warner Brothers. 
Director : Edward Ludwig. Novel by Elmer 
Davis. Cast : Charlie Ruggles, Ann Dvorak. 
The subtle and chuckley kind of comedy of 
which Charlie Ruggles is capable is given ample 
opportunity in the first part of the picture in 
which he is seen as a down-trodden little worm 
of an editor who dares not call his soul his own 
and has almost forgotten his early prowess as a 
college football hero. Adults. 

Hollywood Party. M. G. M. Director : 
Alan Dwan. Cast : Jimmy Durante, Lupe 
Velez, Jack Pearl, Laurel and Hardy, Polly 
Moran, Charles Butterworth. Hodgepodge 
raised to the highest power with much wise- 
cracking and the Durante style of humor run- 
ning over and around everyone else who comes 
to his party. Adults and young people. 

Private Scandal. Paramount. Director: 
Harry Joe Brown. Cast : Zasu Pitts, Helen 
Mack, John Halliday, Phillips Holmes, Ned 
Sparks. Murder mystery comedy with particu- 
lar emphasis upon the comedy as may be judged 
from the cast. Adults. 

High Comedy 

Twentieth Century. Columbia. Director : 
Howard Hawks. Cast : John Barrymore, Carole 
Lombard, Roscoe Karns, George E. Stone, 
Walter Connolly. A tumultuous and noisy 
picture telling a story of backstage life. Adults. 

Mystery, Melodrama and Crime 

Bulldog Drummond Strikes Back. Twen- 
tieth Century-U. A. Director : Roy del Ruth. 
Original story by H. C. McNeille. Cast: 
Ronald Colman, Loretta Young, Warner Oland, 
Charles Butterworth, Billie Burke. The inimi- 
table Drummond in a picture that adds to its 
highlights of dectective pursuit such clever 

comedy that Butterworth almost "steals the 
picture" from Colman. Adults. 

Criminal at Large. Helber Pictures. A 
Gainborough Production (English). Director: 
T. Hayes Hunter. Cast : Emlyn Williams, 
Cathleen Nesbett, Norman McKinnel. An 
interesting mystery tale, with some good back- 
grounds and bits of acting. Adults and young 

Manhattan Melodramjv. M. G. M. Direc- 
tor: W. S. Van Dyke. Original story by 
Arthur Caesar. Cast : Clark Gable, William 
Powell, Myrna Loy, Nat Pendleton. The 
story centers around the lives of two men, 
orphaned in boyhood, who are raised as brothers 
and continue their devotion through life although 
their paths lie far apart. Adults. 

Man With Two Faces. Warner Brothers. 
(Formerly "The Dark Tower.") From the 
play by George S. Kaufman and Alexander 
Woollcott. Director : Archie Mayo. Cast : 
Edward G. Robinson, Mary Astor, Ricardo 
Cortez. A brilliant cast in a backstage melo- 
dramatic mystery story. Adults and young 

Return of the Terror. Warner Brothers. 
Suggested by a story written by Edgar Wallace. 
Director : Howard Bretherton. Cast : Mary 
Astor, Lyle Talbot, Frank McHugh, John Halli- 
day, Irving Pichel, George E. Stone. A deep- 
laid plot to throv^f suspicion of murder and 
insanity upon a fine doctor who heads a sani- 
tarium leads to many mysterious doings, thrills 
and chills. Adults and young people. 

Worldly Wise 

Affairs of Cellini. Twentieth Century- 
U. A. Based on the stage play by Edwin 
Justus Mayer. Director : Gregory LaCava. 
Cast : Constance Bennett, Fredric March, Frank 
Morgan, Fay Wray. It is all highly sophisti- 
cated, colorful entertainment which will be a 
matter of taste. 

Sisters Under the Skin. Columbia. Origi- 
nal story by S. K. Lauren. Director : David 
Burton. Cast : Elissa Landi, Joseph Schild- 
kraut, Frank Morgan, Doris Lloyd. Skillfully 
played and directed, with the actors behaving 
like real people for the most part. 

Where Sinners Meet. R. K. O. Based on 
the A. A. Milne play, "The Dover Road." 
Director: J. Walter Buben. Cast: Clive Brook, 
Diana Wynyard, Billie Burke, Alan Mowbray. 
What happens on the Dover Road, where runa- 
way couples are detained as house guests of a 
suave, erratic Englishman, long enough for 
them to take stock of themselves and each 
other's idiosyncrasies, before setting out on a 
new matrimonial venture, provides a gaily 
imaginative comedy of manners. 


Sweden, Land of the Vikings. Produced 
and photographed in Sweden by John W. Boyle. 
In natural color. Narrative by Wilfred Lucas. 
Released in the east iiy Associated Cinemas of 
America and in the west by Mr. Bovlc, A de- 
lightful introduction to an interesting people, 
this feature length picture, in unusually satis- 
factory color, should find a warm reception 
among audiences of all ages who enjoy travel 
pictures. Family. 

Short Subjects 

Gulliver Mickey. Mickey Mouse cartoon. 
United Artists-Walt Disney. Mickey has a 
dream of high adventure among many Lilliputs. 

Funny Little Bunnies. Silly Symphony 
cartoon. United Artists-Walt Disney. A charm- 
ing view of how the bunnies make easter eggs, 
getting their color from the rainbow. 

Following the Horses. Fox. Extraordi- 
nary and perilous riding with armies and steeple- 
chasing in many lands. Very beautiful photog- 

Free Lance Publicist 

J. Maxwell Joice, chief of amusements at 
the 1933 Chicago World's Fair, and a press 
agent, is now engaged in free lance publicity 
at 1482 Broadway. 

June 30, 1934 




J. R. McDoNOUGH, president of Radio Pictures, 

arrived in New York from an extended trip 

to Hollywood. 
David Miller, co-producer with Pete Smith 

of "Goofy Movies,'' left New York for the 


John Mock, Fox assistant eastern story editor, 
was due in New York from San Francisco. 

Hal Roach arrived in New York from Chi- 

Felix F. Feist, MGM general sales manager, 
returned to New York from the Chicago 

Harry M. Woods, song writer, returned to 

New York from England. 
Harry Jans and Harold Whalen returned 

to New York on the 6^. 5. Leviathan from 


Marc Connolly arrived in Hollywood from 
New York to start work on the adaptation 
of "A Village Tale," for Paramount. 

Charles H. David, managing director of the 
Pathe-Natan studios in Paris, arrived in 
Hollywood frojn New York. 

Helene Holstein, former Viennese soubrette, 
and wife of Julius Klein, assistant to Carl 
Laemmle, Jr., arrived in Hollywood from 

Morris Goodman, foreign sales manager for 

Mascot, sailed for Europe. 
Elizabeth Lonergan sails for a European 

holiday July 1. 
Glenda Farrell and Helen Ferguson are in 

New York. 

Nigel Bruce left Hollywood for New York. 
Sidney R. Kent, president of Fox, returned 

to New York from the Coast. 
Harry M. Warner is visiting his daughter, 

Doris Leroy, in Hollywood. 
George Burns, his wife, Gracie Allen, Kay 

Francis, Hope Hampton and her husband, 

Jules Brulator, sailed for Europe from 

New York. 

A. C. Brown, Paramount traveling auditor, 
and Andre Hornez, MGM scenarist, sailed 
for France, on the Champlain. Also aboard 
was Bernard Zimmer, French playwright. 

Ed Kuykendall attended the International 
Rotary Conference in Detroit last week. 

King Vidor arrives in New York July 11 from 
Hollywood with a print of his latest picture 
for United Artists release. 

Stanleigh Friedman, of Warner's legal de- 
partment, sailed for Ejurope. 

I. W. Schlesinger, South African financial 
and theatrical magnate, returned to Europe 
after a visit to New: York. 

Leslie Howard is vacationing in his native 

Eugene Pallette arrived in New York from 
the Coast. 

Monroe Greenthal returned to the United 

Artists home office from a Paris holiday. 
Kitty Carlisle, Paramount featured player, is 

vacationing in New York. 
Hal B. Wallis and Jacob Wilk were en 

route to the Coast from New York. Mr. 

Wallis just returned to New York from 


Harry Goetz, Reliance president, returned to 

New York from Hollywood. 
Florence Heller, Broadway actress, left for 


Harry E. Nichols, field representative for 
the Quigley Publications, is traveling through 
Washington, Oregon and British Columbia. 

Karl MacDonald, Warner Latin America 
division manager, leaves this week for 
Buenos Aires. 

Dorothy Reid Signed 

Dorothy Reid, absent from independent 
production for two years, has returned, be- 
ing scheduled to appear in Monogram's "The 
Red Head," from the storv of Vera Brown. 

The charf, based on Mofion Picture Herald's tabulation of box office grosses, 
shows the business done in each of three west coast key cities during the nine 
weeks period from April 2! to June 16, 1934. In each city, the gross for the first 
week of the period is taken as 100% for that city. 

Columbia Broadcasting 
Year Net Is $923,794 

Columbia Broadcasting System, for the 
year ended December 30, 1933, reported a 
net profit of $923,794, and operating profit 
for the year after charges but before de- 
preciation, of $1,381,698. On the combined 
49,194 shares of Class A and 63,250 shares 
of Class B, the net was equal to $8.21 per 

The company declared a quarterly divi- 
dend of 50 cents on the A and B stocks, pay- 
able June 29 to stock of record June 15. 
This compares with 25 cents three months 
earlier, and represents an increase from a 
$1 to a $2 annual basis. 

Mexican Producers To 
Have Military Advice 

The civic government of Mexico City has 
efTected a friendly censorship arrangement 
with the national government for Mexican 
made films. Native producers will inform 
the national government when they propose 
to make films with soldiers or military 
scenes, so that an expert may supervise 
these scenes in order to avoid blunders. 


The following motion picture companies have 
been charted at Albany, N. Y. : 

Institutional Cinema Service, Inc., New York 
City, with capital of 200 shares no par value 
stock. Edward Elman, Harry H. Silverman, 
Irving G. Morris, 405 Lexington Avenue, are 
directors and subscribers. 

Monte Brice Productions, Inc., New York 
City, with capital of 10 shares no par value 
stock. Harry Fahrer, Howard M. Antevil, 
Georgette Levy, 1250 Sixth Avenue, Manhattan, 
are directors and subscribers. 

Surf Avenue Enterprises, Inc., New York 
City, to exhibit motion pictures, capital 200 
shares no par value stock. David N. Goldman, 
Bernard R. Gogel, Florence S. Epstyne, 285 
Madison Avenue, New York City, are directors 
and subscribers. 

Luxor-Bleecker Amusement Corporation, 
New York City, with $10,000 capital to exhibit 
motion pictures, plays, etc. Miriam Pollack, 
Esther Reitman, David Freedman, 170 Broad- 
way, Manhattan, are the incorporators. 

Taylor Film Board Head 

Percy Taylor, former Canadian general 
manager for Radio, and now Columbia inan- 
ager in Winnipeg, has been appointed chair- 
man of the Manitoba Film Board of Trade. 

Columbia Has Shanghai Office 

Columbia Pictures has opened a new dis- 
tributing office in Shanghai, China, which 
follows similar expansion in Japan. Paul Sien 
Chung will manage the new branch, under 
the supervision of John Albeck, Far Eastern 

ITOA Plans Outing 

The Independent Theatre Owners Asso- 
ciation, New York, will hold a boat ride 
and outing on July 11, to which the entire 
membership has pledged support. 

Czech Production Increases 

The output of pictures in Czechoslovakia 
increased from 25 sound pictures in 1932 to 
35 in 1933, commercial attache Sam E. 
Woods reports from Prague. Of the total 
produced in 1933, 29 were Czech, two were 
French and four were German. 



June 30, 1934 


The BLUEBOOK School 


BLUEBOOK SCHOOL QUESTION NO. 230.— (A) Just what Is meant by "diverging" or "converging" beam? 
(B) Could there be a diverging or converging ray? (C) Define "Ray," "Beam," "Picture Light," "Definition" 
as applies to projection, "Soft Focus," "Specular" as applies to screens, "Diffusion" as applies to screens, 
"Double Convex," "Piano Convex," "Meniscus," "Flatness of Field," "Glare Spot." (D) Why is It desirable that 
correct terms be used by projectionists and others? (E) What body is authoritative in selecting terms and titles 
correct for use Insofar as applies to the projection field? 

Answer to Question No. 224 

Bliiebook School Question No. 224 zvas: 
(A) How are matched lenses usually se- 
lected? (B) If you broke one lens of a pro- 
jection lens, what would you do? (C) In 
ordering replacement of a single lens, what 
imist be done? (D) Why is it necessary to 
send the broken lens along with the unbroken 
ones when ordering a single-lens replace- 
ment ? 

It is encouraging to see so relatively tew 
dropping out during the hot weather. The 
following made good: 

G. E. Doe ; C. Rau and S. Evans ; D. 
Danielson; J. Wentworth ; H. Edwards; R. 
De Totto; C. Oldham; T. Van Vaulken- 
burg ; L. Cimikoski ; D. Ferguson ; A. F. 
Sprafke ; L. J. O'Melia ; Nic Granby ; D. U. 
Granger; W. Broadbent; B. Doe; B. R. 
Walker ; L. F. Evans ; D. Goldberg and L. 
Hutch; F. H., S. and P. Dalbey; G. John- 
son and L. R. Spooner ; O. L. Daris and F. 
Simms ; S. Carberry ; G. Lathrope and N. L. 
Tomlinson ; L. N. and C. B. Traxler ; D. 
Habor and D. Breaston ; P. Itt ; R. D. Ober- 
leigh and J. Lansing ; M. and J. Devoy ; H. 
F. Menefee ; L. and F. H. Klar ; N. Bagley 
and L. D. Richardson ; L. R. O'Leary ; K. Y. 
Spencer ; B. H. Sanders, J. Jensen and D. 
L. Lode; J. Hendershot; L. H. Daniels and 
B. W. Williams; O. Davis and T. L. Turk; 
H. L. Samuels and T. G. Gnalo ; L. R. Doty ; 
H. R. Baldwin; J. Jurts and D. Howard; B. 
L. Donald and F. Y. Gradley ; M. and S. T. 
Gibson ; G. Thompson ; F. L. Benton and A. 
L. Dodson; T. T. Golley; O. Allbright; P. 
and L. Felt ; D. L. Sinklow ; B. R. Walker ; 
R. Geddings and L. Grant ; N. Prane and 
B. R. Mills. 

(A) Messrs. Rau and Evans answer cor- 
rectly thus : 

"The usual procedure in matching lenses 
is to try them out until two are found that 
give exactly the same image dimensions at 
equal projection distance and projection 

Dale Danielson says : 

"Lenses usually are matched by trial and 
elimination ; that is to say, until two are 

found that will project the same size image 
using the same aperture, projection distance, 

G. E. Doe says : 

"Because of the fact that lens manufac- 
turers allow a small tolerance of error in 
marking their lenses, which means that they 
find it impractical to mark projection lenses 
with the exactly correct E. F., if a precise 
match is wanted for a projection lens, the 
only sure way is to have the lens it is de- 
sired to match project an aperture image to 
a screen and superimpose on that image 
others by different lenses until one is found 
that matches exactly." 

(B) Nic Granby says: 

"I would order a new lens for the reason 
that while by sending the whole damaged 
lens, including the broken element, to its 
maker it would be quite possible to replace 
the assemblage in its former state, it would 
in all probability cost almost if not fully as 
much as would a complete new lens. More- 
over, if it be a lens that is matched with an- 
other, the repaired lens might not match the 
other lens exactly. 

"My answer, therefore, would be that I 
would get a new lens, forwarding the other 
(if a matched set) for matching, meanwhile 
securing the loan of two lenses for use dur- 
ing the time my own were absent. The loan 
can be had either from the manufacturer or 

Every one else advised sending in the 
whole assemblage, including the broken lens, 
to its maker, which is correct, but has the 
objections named by Brother Granby. I am 
not demeriting any one on this, since the 
procedure (sending the lens and broken ele- 
ment back) is suggested by the Bluebook. 
However, we have later concluded that be- 
cause of its high cost and the present day 
demand for exact matching, it is not advisa- 
ble to have such damage repaired. 

(C) Practically every one suggests send- 
ing the entire lens, including broken lens 
element, to the manufacturer who originally 
made the lens, which is quite correct if such 
a repair is decided upon. 

(D) Messrs. Rau and Evans say: 
"It is necessary to send the broken lens 
so that the manufacturer can measure the 
curvature of the surfaces and be able to 
exactly duplicate them." 

I am continually receiving letters asking 
how their writers may join the Bluebook 
School. I therefore again say there are 
absolutely no requirements except (a) An- 
swer the questions as best you may, not get- 
ting immediately discouraged if your an- 
swers are not judged correct. Absolutely no 
one will know that but me. The answers, 
except those published, are shown to abso- 
lutely no one, and are burned immediately 
they are found to be incorrect. They are all 
burned as soon as the answer has been pre- 
pared for publication, (b) Write your name, 
your address and the number of the question 
you are answering at the top of the first 
page, (c) Write as plainly as you can. 
Typewritten answers are of course preferred, 
but good handwriting will serve, (d) Write 
on one side of the paper only. It also is 
better to write on separate pages the answers 
to each question (not section of a question, 
but question as a whole), so that no part of 
two questions appears on the same sheet. It 
facilitates their handling. 

Intercity Radio Links Group 
Of Cities in New RCA System 

The first steps of a new intercity radio 
telegraph system of RCA Communications, 
Inc., which may later be extended over the 
country, began operation last week in co- 
operation with Western Union. New York 
has been linked by radio with Boston, 
Washington and San Francisco, and appli- 
cations have been filed for construction per- 
mits to similarly join Seattle, Los Angeles 
and Detroit. Very shortly it is expected 
New Orleans and Chicago will be part of 
the radio system. Collection and delivery 
service for messages will be through West- 
ern Union offices in the cities named. The 
arrangement is said to in no way impair the 
independence of either company. 

BIG in Boston, Trenton, Washington, 
Syracuse, Rochester, Detroit, Providence, 
Cincinnati, Des Moines, Kansas City, 
Grand Rapids, Minneapolis, New 
Orleans, Omaha, Sioux City. Best At- 
tendance in Eight Weeks at Radio City. 


Directed by AI^FRED SANTELL 
From the story by LOUIS BROMFIELD 
Pandro S Bermari, fxecut/Ve Producer 



SJije JJeto f0rk ^iint$. 

[Which is a pretty fair newspaper] 

Editorially lists the 
Most Awaited Films 
of the New Season 

The ONLY pictures 
they list are on the 

RKO-RADIO 1934-35 

Program! . . . . 









it was RKO-RADIO that delivered on its 33-34 Program these outstanding pictures. 

Morning Glory, One Man's Journey, Ann Vickers, Little Women, Flying Down to Rio, The Lost Patrol, 
Spitfire, Wild Cargo, This Man is Mine, The Crime Doctor, Stingaree, Of Human Bondage, We're Rich 
Agaiiij^Cgckeyed Cavaliers, The Li fe of Vergie Winters, Down to their Last Yacht. 






June 30, 1934 



The Hollywood Scene 


PSYCHOLOGISTS and students of the 
drama. have oft said, "Remove some de- 
sire from the reahn of human instinct 
and nature sublimates that wish in some 
other form of activity." 

In the case of gang pictures, they being 
"Verboten," producers met the public's want 
by making murder-mystery-melodrama. 

With some of them coming under the ban, 
because of undue emphasis on the crime ele- 
ment, Hollywood is now turning to the "Yo 
Ho, and a Bottle of Rum" cycle of pirate pic- 

To date, the following pirate pictures have 
been announced by the various companies, 
with more in the offing : 

"Treasure Island," Metro-Goldwyn-Mayer. 

"Black Ivory," Warner Bros. 

"Captain Blood," Warner Bros. 

"Captain LaFitte," RKO Radio. 

"Captain Kidd," Sol Lesser. 

"Buccaneer," Paramount (Cecil B. De- 


Paramount Digs In 

Field men of Paramount have a wider con- 
cept of the studio problems and objectives 
following the addresses of Emanuel Cohen, 
Adolph Zukor and George J. Schaefer at 
the convention which closed Thursday night. 

As Mr. Cohen said, the making of pic- 
tures has ceased to be a one-man task ; all 
elements from the purchase of a story to the 
paying patron must coordinate for success. 

George Schaefer declared : "I am proud 
to say Paramount will not have to borrow 
a red cent to meet its production costs for the 
next year." 

In announcing a production policy of 
"good taste," evidencing again that he would 
have a hand in production, Mr. Zukor said, 
"Our picture schedule will parallel the first 
15 years of Paramount's existence, in which 
films avoided salaciousness." 


"Clean" Filnns Harder to Make 

Amid the silence that reigns in Hollywood, 
while bombs burst in air, the voice of one 
producer was raised recently, neither in sor- 
row nor in anger, that he, for one, had no 
need of reforming his product. 

Sol Lesser told representatives of women's 
organizations, who called upon him to in- 
quire about his present program of films, 
that "The only thing that's ever been 'bad' 
in any production I've ever been connected 
with is the adjective in 'Peck's Bad Boy.' 

"It's more dijficnlt to make a clean 
picture than a salacious one," Mr. Lesser 
told the women, "for a socalled 'dirty' pic- 
ture need not be intelligent in order to win 
a certain kind of patronage; hnit a clean 
picture has got to be clever." 


The Goldwyns Entertain 

Mr. and Mrs. Samuel Goldwyn digressed 


somewhat from the usual caliber of the typ- 
ical filmdom frolic as host and hostess at 
the opening of an exhibit of Paintings of 
the American Scene by Cergei Soudeikin 
at the Stendahl Galleries. Dinner jackets 
and white carnations were replaced by tails 
and gardenias. Chamber music by Vladimir 
Bakaleinikoff and Alexander Nilsberg gently 
filled the halls and garden patio, where Ru- 
pert Hughes made an elaborate introduction. 

The formal invitations issued by the Gold- 
wyns carried a red bar diagonally across 
the "time and place." 

Concurrent with this exhibit, Mr. Gold- 
wyn happens to be producing the film of 
Russian origin adapted from Tolstoy's "Res- 
urrection," now titled "We Live Again" and 
starring the Soviet Siren, Anna Sten. 

As one wag put it, "it's Goldwyn's Last 


Champions at $100,000 Cost 

On the selfsame day that congratulations 
poured in on Stanley Bergerman when it 
was announced that three out of five pic- 
tures produced by him last year were rated 
Box-Office Champions in the Motion Pic- 
ture Herald check-up, Carl Laemmle's 
son-in-law was cudgeling his mind about 
"wary and shy" bankers. 

"Today," he ^aid, "with American dis- 
tribution geared the way it is, plus the reve- 
nue from other English-speaking countries, 
the returns on a moderate investment 
through established channels are fairly well 

Mr. Bergerman's three Box Office Cham- 
pions are "Moonlight and Pretzels," "Out 
All Night" and "The Countess of Monte 
Cristo," produced at an average cost of 
$100,000, which is something of a record. 

Speaking of bankers, and in Hollywood 
every one does of "Doc" Giannini, it is to 
him the statement is credited that over a 
period of 10 or 15 years he has loaned film 
producers more than fifty million dollars, at 
the legal rate of interest, and never lost a 
penny in his transactions. 

Another fact, which the Doctor never has 
revealed, is that in no film financing deal 
the Doctor ever made did his bank charge 
over the legal rate of interest, share in 
profits, or exact any kind of bonus. 

Two lusty hopefuls, both on vacations 
from college and both sons of two eminent 
producers, embarked on film careers this 
week for the summer. 

Buddy Schulberg, son of Ben and a stu- 
dent editor at Dartmouth, sails next week 
for U. S. S. R. to explore the curriculum of 
the Russian school where he understands 
young men of any nation may come to study 
films, including courses in raw stock, camera, 
laboratory work, optics, set designing, cos- 
tume design, philosophy, psychology, panto- 
mime, budget, direction, cutting and exhibi- 

Buddy Lesser, son of Sol, on vacation 

from Stanford University, starts as publicity 
assistant at his dad's production headquar- 
ters at the Pathe Studio in Culver City. 

Twelve Pictures Started 

Twelve pictures were placed before the cam- 
era.s in the past week. Six were finished. Cur- 
rently 36 pictures are in actual production — an 
increase of six over the corresponding week 
of a year ago. 

Universal has two new ones. "The Human 
Side" features Adolphe Menjou, Doris Ken- 
yon, Dickie Moore and Reginald Owen. "Mil- 
lion Dollar Ransom" will present Edward Ar- 
nold, Phillips Holmes, Marjorie Gateson and 
Mary Carlisle. 

Warner started two also. "The Case of the 
Howling Dog," mystery melodrama, has War- 
ren William and Helen Trenholme, with Mary 
Astor. "Big Hearted Herbert," comedy ro- 
mance, will present Guy Kibbee, Aline Mac- 
Mahon, Patricia Ellis and Phillip Reed. 

Eox began work on "Serenade," in which Pat 
Patterson, Nils Asther and James Burke have 
the important roles. 

With Jean Parker, Una Merkel, Stuart Er- 
win and James Dunn in the leads, MGM 
started "Have a Heart." 

Teaming Irene Dunne and John Boles, Radio 
launched "Age of Innocence," casting Wesley 
Barry and Laura Hope Crews in supporting 

Columbia finally put "The Captain Hates the 
Sea" before the cameras. The cast lists Victor 
McLaglen, John Boles, Wynne Gibson, Leon 
Errol and Florence Rice. 

Paramount started "Pursuit of Happiness," 
starring Joan Bennett, Francis Lederer and 
Grace Bradley. 

Principal Pictures moved to location the 
"Peck's Bad Boy" company, including Jackie 
Cooper, Jackie Searl, Thomas Meighan and 
Dorothy Peterson. 

Majestic started "She Had to Choose," in 
which Isabel Jewell, Buster Crabbe, Reginald 
Toomey and Sally Blane are the important 

Supreme started "Demon for Trouble," star- 
ring Bob Steele with Gloria Shea, Don Alva- 
rado and Nick Stuart in support. 

Of the six finished pictures, Paramount ac- 
counts for two. They are "The Notorious 
Sophie Lang," Gertrude Michael, Paul Cava- 
naugh, Arthur Byron and Alison Skipworth, 
and "Elmer and Elsie" with George Bancroft, 
Frances Fuller and Roscoe Karns. 

Columbia completed "Girl in Danger," for- 
merly titled "By Persons Unknown," in which 
Ralph Bellamy, Shirley Grey, Charles Sabin 
and Arthur Hohl are featured. 

"Caravan," with Charles Boyer, Loretta 
Young, Jean Parker and Phillips Holmes head- 
ing a large cast, was moved to the cutting room 
by Fox. 

Warner wound up active shooting on "The 
Dragon Murder Case." Warren William, Mar- 
garet Lindsay, Lyle Talbot and Robert Barrat 
have the leading parts. 

Monogram completed "Moonstone" in which 
David Manners, Phyllis Barry and Jameson 
Thomas are featured. 


After experimenting for one week in put- 
ting the Chinese on a three-day week, Fri- 
day, Saturday and Sunday, for the current 
showing of "House of Rothschild," Sid 
Grauman, by popular demand, was forced to 
return to the full week policy. 



June 30, 1934 




QUESTION — Please give me the address of 
the Code Authority for the St. Louis district. 
I have a protest I'lvish to file.— ILLINOIS. 

ANSWER — There are two code boards in 
each key city, a Local Grievance Board to hear 
complaints of unfair trade practice or unfair 
competition, and a Local Clearance and Zon- 
ing Board to establish fair clearance schedules 
and to hear and adjust complaints of unfair 
clearance. The boards in St. Louis are located 
in Suite 815, Ambassador Building. The tele- 
phone number is Central 8354. Miss Lila Scho- 
field is the secretary. 

V V V 


QUESTION— Would you kindly put me 
right regarding the following wage disputed 
The theatre I ivorked at as a projectionist for 
three years was run by a circuit up to June of 
1933, atid my salary was $25 for a 32-hour 
week. The theatre zifos returned by the circuit 
to its original owner on July 1, 1933. / con- 
tinued to work at this theatre when it was re- 
opened on August 27, 1933, for the same sal- 
ary, but the hours were increased to 36 
and 38. Then the nwiager reduced my salary 
to 45 cents an hour, with my hours vary- 
ing from 32 to 36. He said that because the 
theatre wasn't open on August 23, 1933 — the 
date specified in the code tipon iMch wage and 
hour schedules are computed — he had a right 
to cut wages to 40 cents an hour under the code. 
I claim that he is in error, and I want to knozv 
if I am right and can I demand the salary that 
has been paid up to last week, which zvas $25 
for 36 to 38 hours.— NEW YORK. 

ANSWER — The motion picture code specific- 
ally says (Article I-V, Part 1, Section 6-A) 
that motion picture projectionists shall receive 
not less than the minimum wage and work no 
more than the maximum number of hours per 
week which were in force in a locality as of 
August 23, 1933. 

The code states further that in the event that 
there did not exist a prevailing scale of wages 
and maximum number of hours for a projec- 
tionist, or if there is a dispute over such wage 
scales and hour schedules, then the matter shall 
be arbitrated. It is assumed that the matter 
described above is a non-union situation, and 
where a non-union operator is involved, the 
code says that the manner of arbitration shall 
be as follows : 

The non-union employees shall appoint one 
representative and the local lATSE union shall 
appoint one representative, and the exhibitor 
shall appoint one. This committee of three 
shall constitute an arbitration board for the 
specific purpose of settling the single dispute. 
The committee shall examine the facts and shall 
unanimously determine the existing scale of 
wages and the maximum number of hours for 
the operators involved. In the event that they 
cannot unanimously agree, then they shall mu- 
tually designate an impartial person who shall 
be empowered to sit with the board, review the 
facts and officially determine the dispute, with 
the proviso, however, that in the event the 
three representatives cannot agree upon an im- 
partial person, then the Division Administrator 
(Sol A. Rosenblatt), or the NRA Administra- 
tor (General Hugh S. Johnson), shall desig- 
nate such impartial person. 

Pending the determination of such dispute, 
the rate of wages then paid by the exhibitor and 

the maximum number of hours then in force 
(but such hours shall not exceed 40 weekly), 
shall not be changed so as to decrease wages 
or increase hours. In order to efTjctuate the 
foregoing provisions and pending the determina- 
tion of the dispute, the employer agrees that 
he shall not lock out his employees, and the 
employees agree that they shall not strike, ac- 
cording to the code. 

If no arrangements have been effected by the 
projectionist for arbitration, the projectionist 
may present his problem for possible adjust- 
ment to the Regional Labor Board in his ter- 
ritory. The location of this Regional Labor 
Board in any territory may be obtained from 
the National Labor Board of the NRA at 
Washington, D. C. 


QUESTION— The Code Authority sent me a 
bill for a six-months' code assessment, and al- 
though I did not sign the m.otion picture code, 
they claim I have received benefits from it under 
the 10 per cent cancellation privilege clause, and, 
therefore, I must pay the assessment. 

I did sign the President's blanket code of last 
year, however, but do not feel the film code is 
aimed at "small town" theatres, so I did not 
sign it. I have never bought as high as 90 per 
cent of any group of features, with the exception 
of one group, and I had that much of a cancel- 
lation privilege (10 per cent) from that distrib- 
utor before the code went into effect. 

It is tough enough to keep open without any 
added expense. However, I am all for the code 
in places where the small theatre owner can 
be benefited. 

Do I have to pay this assessment, and, if so, 
can I still sign the code and get what little pro- 
tection it might give me at some future timef — 

ANSWER— The Code Authority has ruled 
that even though an exhibitor has not signed 
the code, he must pay the code assessment 
levied against him by the Code Authority if 
he has accepted any benefits of the code, such 
as the 10 per cent cancellation privilege. 

However, because this exhibitor had a 10 per 
cent cancellation clause in one contract signed 
before the code became effective, on December 7, 
it appears that he may have grounds for com- 
plaint against the assessment in view of the 
fact that such cancellation privilege had been 
previously granted and was not a direct result 
of the enactment of the code by the industry. 
The Local Grievance Board in the exchange 
city in the territory where the exhibitor oper- 
ates, or the Code Authority itself, located in 
the RKO Building, 50th Street and Sixth Ave- 
nue, New York, will entertain complaints against 
code assessments. 

Exhibitors who have not signed the motion 
picture code will, it is expected, be given the 
opportunity again to sign under a decision due 
shortly from the Code Authority. 

Heifetz with Majestic 

Lou Heifetz has been named publicity 
head of Majestic by Larry Darmour on the 
Coast. Mr. Heifetz will handle studio pub- 

U. A. of Japan Chartered 

United Artists Corporation of Japan has 
been chartered at Wilmington, Del. 

Immediate reply is being made di- 
rect to the many letters which Mo- 
tion Picture hierald is receiving from 
exhibitors and distributors in the field, 
and from others, in which various 
questions are asked concerning cer- 
tain doubtful phases of the Motion 
Picture Code. In addition, such code 
questions and the answers submitted 
are published as a regular service. 

For obvious reasons, the letters 
will appear anonymously. However, 
the originals will remain on file. 

Answers to questions about the 
Code are submitted only after con- 
sultation with authorities familiar 
with the technicalities of the docu- 

This service is available to every- 
one. Send questions to the Code 
Editor, Motion Picture Herald, 
1790 Broadway, New York City. 

Warner Plans Navy Film 
Premiere at Norfolk, Va. 

Warner will hold the world premiere of 
"Here Comes the Navy" at the Loew's 
State theatre, Norfolk, Va., on July 6 in 
honor of the arrival at that naval base of 
the United States fleet, which cooperated in 
the making of the film recently on the Coast. 
The home office advertising department, un- 
der S. Charles Einfeld, director, has made 
elaborate plans for the premiere. The re- 
lease date on the film has been advanced to 
the last week in July. James Cagney is 

Academy May Change 
Sound Award Method 

The Academy of Motion Picture Arts 
and Sciences on the Coast has appointed a 
committee of technicians to work out 
changes in next year's award for achieve- 
ment in sound recording. Deficiencies in 
the present system of nominating and voting 
led to the decision to change. It was sug- 
gested the jury system in use for the scienti- 
fic and technical awards be utilized for 
sound also. The comfiiittee is considering 
the suggestion. 

Landow To Be Dired 

Mike Landow, recently resigned as Phila- 
delphia Universal manager, will be tendered 
a dinner July 9 by local exhibitors and 
distributor representatives. On the com- 
mittee are Jay Emanuel, L Epstein, Harry 
Weiner, James Clarke and Joe Leon. 

Named Branch Manager 

Joe Engel, former assistant manager and 
city salesman for Universal in Philadelphia, 
has been named local branch manager, suc- 
ceeding M. S. Landow, resigned. 

Jaffe Leaves Columbia 

Sam Jaffe has resigned as associate pro- 
ducer at Columbia, effective Thursday. He 
plans a trip to Europe, during which he 
may produce a picture in England, and will 
return in about three months. 








Produced by John Stone Director: Harry Lachman 


Based on a play 
by James P. Judge 

Screen play: Philio Klein 
and E. E. Paramore, Jr. 




(from "Variety Daily"): Fast step- 
ping entertainment which is bound 
to please the populace. The whole- 
someness of the piece provides one 
of the strong selling points for family 
trade. Alice Faye carries herself with 
seductive appeal. Lew Ayres does 
his stuff with amusing swagger. 
Mitchell and Durant are hilarious. 


(from "Motion Picture Daily"): 

'^'^Comedy and romance hornpipe 
together with laughter holding both 
its sides. Miss Faye is tailor-made 
with her song number, a honey. 
Ayres makes a decided dent in a 
rollicking romantic part. Mitchell 
and Durant groove into the plot 
with hilarious hokum. Because it 
is clean, smart entertainment with 
laughs and kisses, this should hit." 






Produced by John Stone 
Director: George Marshall 

Screen play by William Conselman 
and Henry Johnson 



June 30, 1934 


This department deals with new product 
from the point of view of the exhibitor 
who is to purvey it to his own public 


Shoot the Works 

(Paramount ) 
Romantic Comedy 

This is a showman's show and an audience 
picture. Just plain amusement is its keynote. 
It's an exploitation feature, because, centering 
upon a supershowman, it's loaded with easily 
adaptable effective business stimulating features. 
As it runs its scale it's an object lesson in the 
art of ballyhoo. It's audience because it spar- 
kles with breezy and refreshing comedy. Its 
romantic twist is tinged with charming human 
interest. This element takes on an added im- 
portance due to the tragic misfortune of the 
leading lady, which, without undue publicity, 
should have an unusual effect upon audiences. 
It's clean and wholesome. On its personnel, 
story and production values, it's a big theatre 
attraction. The manner in which it mixes its 
hokum-slapstick comedv with sympathy stimu- 
lating dramatic romance, its color and the sig- 
nticance of its theme song and one or two other 
musical numbers, makes it an all-family attrac- 

Well acted, with Jack Oakie, Dorothy Dell, 
Roscoe Karns, Arline Judge and Alison Skip- 
worth turning in capitaj performances and Ben 
Bernie proving a pleasing surprise and intelli- 
gently directed, the show is a story of common 
folks presented in a way that common folks 
understand. There's no sophisticated drawing 
room stuff about it ; no sex — only amusement 
that takes good advantage of the theatric ele- 
ments of which it is built. 

Full of color, it's the story of a cocky, super- 
egotist, Nicky Nelson, and the Nicky Nelson 
Enterprises. They're honky-tonky store show 
people; flag-ix)le sitters, dead whale exhibitors, 
tvk^o-bit orchestras and flea-circus impresarios. 
Nicky has millions of million dollar ideas, but 
somehow or other they never turn into cash. The 
group breaks up; led by Joe Davis, Jackie and 
Sailor secede, Nicky starts to slip. Then he meets 
Lily. Realizing that his big talk is so much wind, 
she falls in love with him. Fun and human inter- 
est romance drama counterbalancing, the yarn 
builds until Joe Davis has attained the fame that 
is Ben Bernie's. Then Lily is loved by the 
radio magnate and even though Nicky has gam- 
bled away her ring and songs and played every 
other dirty trick on her, she still has a real 
affection for him. Learning that he is still 
barking his dead whale, that the Countess is 
still sticking to him, she invites him to Joe's 
Russian Night Club. There, paraphrasing the 
Winchell-Jolson publicity feud, he socks the key- 
hole peeking columnist who threatens to scan- 
dalize Lily. Even though the old gang knows 
that Nicky can't buy coffee and cakes, they 
sop up all his big-money bombastic rantings, 
until the finale uncovers Nicky as a sensational 
radio master of ceremonies and, of course, Lily's 

This show demands flamboyant carnival ex- 
ploitation, even to atmospherically turning your 
theatre, no matter how dignified a civic asset it 
is, into a bannered, lithographed store sideshow. 
For exploitation, flag-pole sitters, a whale ex- 
hibit gag, peephole windows, a flee circus, if 
possible, may be bromides, but tied up with this 
picture they have a new curiosity-arousing in- 
terest. Printed advertising should accentuate 
the gaudy comedy to the limit. Then there is 
the natural Ben Bernie inspired radio tieup 
possibilities for those who must have modern 

Put your shoulder to the wheel on this one " 

utilize every medium possible to let your patrons 
know all about all the entertainment values it 
contains. — McCarthy, Hollywood. 

Produced and distributed by Paramount. Directed 
by Wesley Ruggles. From a play by Ben Hecht and 
Gene Fowler. Screen play by Howard J. Green. Dia- 
logue by Claude Binyon. Lyrics and music by Mack 
Gordon and Harry Revel and Leo Robin and Ralph 
Rainger. Sound, M. M. Paggi. Art directors, Hans 
Dreier and Robert Usher. Photographed by Leo 
Tover, A.S.C. 


Nicky Jack Oakie 

Joe Davis Ben Bernie 

Lilly Raquel Dorothy Del! 

Jackie Arline Judge 

The Countess Alison Skipworth 

Sailor Burke Roscoe Karns 

Larry Hale William Frawley 

Bill Ritchie Paul Cavanagh 

Axel Hanratty Lew Cody 

Man from Board of Health Monte Vandergrift 

Wanda JiU Dennett 

Professor Jonas Lee Kohlmer 

Head Waiter Tony Merlo 

Detective Ben Taggart 

Policeman Charles McAvoy 

Crooner Frank Prince 

One Night of Love 

( Columbia ) 

Music, Romance, Comedy 

There is a real thrill in this picture — the 
thrill of classical operatic music, wonderfully 
sung by Grace Moore — that is the show's out- 
standing entertainment and showmanship value. 
It's novel quality entertainment, refined and 
wholesome. It carries undeniable appeal for 
the intelligentsia, those demanding better pic- 
tures, that calls for their support in bringing 
it to the attention of the rank and file. At the 
same time, because of story content, its tem- 
peramental human interest romantic motiva- 
tion, its natural comedy contrasts, but mainly 
because of its uniquely popular musical quality, 
it's mass entertainment of high caliber. The 
preview audience, once in the spirit of the pic- 
ture, broke into applause time after time. 

Actually the show, well acted and intelligently 
directed, is a series of opportunities for Grace 
Moore's singing. The principal locale is Milan, 
Italy, although it covers many European capi- 
tals and New York for the finale. The setup 
is simple. Monteverdi, great teacher, first dis- 
covers Mary and loves her for her voice alone. 
The years of preliminary training, difficult 
enough, are complicated by Bill's romantic in- 
trusions, welcome to Mary because they afford 
her relief from the rigid discipline. As a 
Parisian triumph comes, temperaments clash. 
Against Monteverdi's advice, Mary accepts a. 
Metropolitan Opera engagement. Her debut 
seems a hopeless tragedy until Monteverdi ap- 
pears in the prompter's box to inspire her to a 
great triumph and understanding of his love. 

The story is the background for the singing 
of first, 'Ah For E Lui" from Traviata, then 
"Ciri-Biri-Bin," to be followed by "Habanara" 
from Carmen, climaxed in the finale by "One 
Fine Day" from "Madame Butterfly." Con- 
necting all is Schertzinger's theme song ac- 
companiment, "One Night of Love." 

It's an unusual picture. It requires unusual 
selling methods. The title is good. Grace 
Moore hasn't been on the screen since "New 
Moon." Tullio Carminati appeared in "Gallant 
Lady" and "Moulin Rouge." The balance of 
the cast represents but little name draw. Con- 
sequently the attraction itself is the most sale- 
able element. Ordinary methods won't do the 
entire job. Something new should be utilized. 
With an aim of packing the house for first 

performances and placing of dependence on 
word-of-mouth advertising, strong efforts 
should be exerted toward obtaining the coopera- 
tion of the influential elements. Because of 
events of the past few days, the time is phycho- 
logically ripe to call upon those who have been 
yelling for better pictures to be just as active 
in bringing patrons into the theatres as they 
have been in urging them to stay away. 

In any analysis, however, whether this pic- 
ture gets the financial box office support which 
its merits entitle is a matter resting almost 
wholly in the business and opinion-creatiiig 
ability of those who play it. In this connection, 
it might be well to remember "Be Mine To- 
night" and its phenomenal popular success. Be- 
cause of the stirring quality of the music, there 
is a direct parallel between the two pictures. — 
McCarthy, Hollywood. 

Produced and distributed by Columbia. Story by 
Dorothy Speare and Charles Beahan. Screen play by 
S. K. Lauren, James Gaw and Edmund North. Direc- 
tor, Victor Schertzinger. Assistant director, Arthur 
Black. Cameraman, Joseph Walker, A.S.C. Sound 
engineer. Paul Neal. Film editor, Gene Milford. Musi- 
cal director. Dr. Pietro Cimini. Music, Louis Silvers. 
Associate producer, Everett J. Riskin. 


Mary , Grace Moore 

Monteverdi Tullio Carminati 

Bill Lyle Talbot 

Lally Mona Barrie 

AngeHna Jessie Ralph 

Giovanni Luis Alberni 

Galuppi Andres De Segurola 

Frappazini Rosemary Golsz 

Muriel Nydia Westman 

Murder in the Private Car 


Melodramatic Comedy 

As hokum melodramatic thrill comedy, this 
show socks the entertainment ball right on vhe 
stitches. It's the kind of picture that makes 
'em laugh while they blanch in terror. New 
and novel, despite its age, the story, because 
of good acting and smart direction, takes fine 
advantage of a weird variety of tried and proved 
amusement elements. Thus if there is potential 
money-producing showmanship in farcically 
treated comedy, romance, mystery, melodrama, 
thrill, spectacular action and suspense, "Murder 
in the Private Car" dishes them up for cinch 

Bizarre and ridiculous, from beginning to end, 
the show is motivated by a foolish dignity. 
The major locale is the rear car of a transcon- 
tinental train. To give reason for the bur- 
lesque, Ruth is made a fabulous heiress. Her 
fortune and life menaced, she, together with 
Georgia and Scott, a nutty detective who tabs 
himself a "crime deflector," board the train 
and then the real menace to Ruth and the audi- 
ence's sense of humor gets underway. Murders, 
vanishings, to the tune of sliding doors, lights 
going out, and a gorilla, all play heck with 
Scott's crime prevention theories. Then, when 
all the standby exciters have been worked to the 
limit, the car breaks loose from the train and 
rolls down the Great Divide right in the path 
of another onrushing limited. Of course, every- 
thing is unraveled in the end. The gorilla isn't 
a gorilla, and the crime deflector isn't such a 
balmy guy after all. 

This picture is all-laugh entertainment. 
There's fun in action dialogue and situations. 
Being burlesque hokum, it comes denitely within 
the entire family classification. There are so 
many varied exploitation possibilities that pick- 
ing the most powerful seems the most difficult 

June 30, 1934 



job. As there is much interest for women in 
story, production and cast values, more than 
usual attention should be paid to arousing their 
interest. For the same reasons, special efforts 
should be directed at the men. Naturally ap- 
pealing to fun-loving adults, the show is also 
an outstanding juvenile attraction. — McCarthy, 

Distributed by MGM. A Lucien Hubbard produc- 
tion. Directed by Harry Beaumont. Based on the 
play, "The Rear Car," by Edward E. Rose. Adapta- 
tion by Harvey Thew. Screen play by Ralph Spence, 
Edgar Allan Woolf and Al Boasberg. Photographed 
by James Van Trees and Leonard Smith. Running 
time, 70 minutes, as seen on the coast. Release date, 

Scott Charles Ruggles 

Georgia Una Merkel 

Ruth Mary Carlisle 

Hurray Porter Hall 

Blake Russell Hardie 

Hank Willard Robertson 

Carson Berton Churchill 

Allen Cliff Thompson 

Titus Snowflake 

Uncertain Lady 


Comedy-drama, with the greater accent on 
the comedy, as indicated by the leading player in 
the cast, this picture presents no extraordinary 
material for exploitation. It is, in reality, a by- 
play on the inevitable and frequent marital 
complication situation, with the comic element 
of such a situation carried out to its logical con- 

That being the case, the film might well be 
sold to the adult patronage of the married va- 
riety, selling it with emphasis on the amusing 
side of the story. It presents something in the 
nature of variety in that it makes comedy for 
the most part out of what is in general heavy 
drama of the problem play type. 

The audience will be familiar with the popu- 
lar comedian, Edward Everett Horton, who is 
supported by Genevieve Tobin, Paul Cavanagh 
and Renee Gadd in particular. The fact that 
Miss Tobin is an "emancipated" woman, who is 
the head of a mattress company, should offer 
the possibility of store tieups of that nature 
in the community. The emphasis in the selling 
will be on the comedy element, making the most 
of Horton's name and the idea that the picture 
actually is "kidding" the usual marriage tangle. 
The fact that the wife, asked for a divorce, 
indicates to her husband and the woman in the 
case that she will grant him a divorce if they 
will produce for her as good a husband as the 
one she is about to lose, presents an idea which 
should be effective copy in a selling campaign. 

Miss Tobin is greeted in her busy office by 
Horton, her husband, and Miss Gadd, a flighty 
sort of woman with whom he thinks himself 
head over heels in love. They ask for a divorce, 
and Miss Tobin makes her suggestion that 
they find for her another husband to her liking. 
Seeking to comply, they bring to her weekend 
house party Meeker, completely wrapped up in 
his lecture on biology at the next college class, 
and Donald Reed, Spaniard who loses no oppor- 
tunity to practice the art of love making. 
Meeker remains enraptured and Reed gets along 
well with a visiting novelist friend of Miss 

Desiring to arouse her husband's sense of 
jealousy, Miss Tobin secretly invites Cavanagh, 
a personable and extremely wealthy ship line 
owner. Cavanagh arrives and proceeds to make 
open and ardent love to her, but Horton is 
not only oblivious but glad, since he sees it 
bringing him nearer to the divorce he seeks. 
But when Miss Gadd discovers Cavanagh is 
worth millions, she becomes annoyed at the 
attention he is paying to Miss Tobin, and, for- 
getting Horton, goes after him herself. Through 
trickery, she succeeds in making Cavanagh be- 
lieve Horton and Miss Tobin have become rec- 
onciled, and leaves with her, going aboard his 
ship, about to sail. Miss Tobin goes after him, 
Horton after her, but Horton gets there first, 
and not knowing Cavanagh has quietly left Miss 
Gadd aboard, he goes into the cabin. The boat 
pulls out, with Horton and Miss Gadd aboard. 

while Cavanagh and Miss Tobin are left, happy, 
on shore. 

Adult material, it will be most adaptable to 
a midweek position. — Aaronson, New York. 

Produced and distributed by Universal. Directed by 
Karl Freund. From the play by Harry Segall. Adap- 
tation by Daniel Evans and Martin Brown. Screen 
play by George O'Neil and Doris Anderson. Photo- 
graphed by Charles Stumar. Release date, April 23, 
1934. Running time, 65 minutes. 


Elliott Edward Everett Horton 

Doris Genevieve Tobin 

Myra Renee Gadd 

Bruce Paul Cavanagh 

Edith Mary Nash 

Garrison George Meeker 

Cicely Dorothy Peterson 

Garcia Donald Reed 

Butler Herbert Corthel! 

Superintendent Arthur Hoyt 

Secretary Gay Seabrook 

Mr. Weston James Durkin 

Laughing Boy 


A romantic, dramatic, finally 'tragic story of 
the Navajo Indians, and particularly of a young 
man, wholly Indian, and a young girl, who has 
taken upon herself numerous ways of the white 
man, this production develops into the type of 
triangular drama which, under a different set 
of circumstances, with different persons in- 
volved, might have happened anywhere. 

The film is from the novel "Laughing Boy," 
which , in the year it was published, was 
awarded the Pulitzer Prize for the novel. That 
fact might be of real value in selling the pic- 
ture in certain situations, depending, of course, 
on the type of audience. Set in the beautiful 
scenic background of the western country, the 
film is under no condition to be construed as 
a western picture. It has a small touch of 
comedy, but for the rest, with the rather un- 
familiar circumstances of the characters in- 
volved, is romance and drama of a weighty 

Heading the cast are Ramon Novarro in the 
title role, while opposite is Lupe Velez. With 
the exception of William Davidson, in the heavy 
role, there are no other familiar players, the 
others all being Indians. Novarro, in the In- 
dian role, sings a number or two in fairly 
effective fashion, but his rendition is hardly of 
such a nature or quality as to make that a sell- 
ing point in the campaign. The fact that the 
situation which develops might have taken place 
anywhere, anytime, with any individuals, offers 
some opportunity for copy lines which may 
prove effective in attracting a certain amount of 
feminine patronage. 

Laughing Boy and the others of the Navajo 
tribe attend the great annual singing and dancing 
festival. There also comes Miss Velez, known 
as Slim Girl, who lives part of the time in the 
town, and is virtually an outcast among her 
tribespeople. She is attracted to the handsome 
Laughing Boy, but he steadfastly refuses to 
dance with her, or even talk to her. She 
finally entices him into a dance, but her move- 
ments are those of the white folk and not in 
accordance with the ancient manner of the 
Indians. Annoyed, he leaves her, but she fol- 
lows him to the edge of a cliff, and there he 
discovers that she is not exactly unattractive. 

They fall in love, and against the judgment 
of his elders, he determines to marry her. They 
spend one night under the stars, but next morn- 
ing she discovers he has left her. She returns 
to her small house in town, where Davidson is 
waiting for her. Miserable, she leaves him to 
return to the mountains and Laughing Boy, 
and he, equally forlorn, meets her. They are 
married, and she divides her hime between their 
tribal home and the town, where she is sup- 
posed to be trading. Actually she is meeting 
Davidson at intervals, for the purpose of ex- 
tracting as much money from him as possible, 
which she brings to Laughing Boy, that he 
may buy more and more sheep and horses. 

One day, in holiday spirit, Laughing Boy 
finds someone to guard his sheep and goes to 
town himself. Accidentally he comes across 
Slim Girl's home and finds her in the arms of 
Davidson. Misconstruing the scene, Novarro 

draws his bow and kills her with the arrow 
intended for Davidson. Sadly he buries her in 
the mountains. — Aaronson, New York. 

Produced and distributed by Metro-Goldwyn-Mayer. 
Producer, Hunt Stromberg. Directed by W. S. Van 
Dyke. From the novel "Laughing Boy," by Oliver 
LaFarge. Screen play by John Colton and John Lee 
Mahin. Musical score by Herbert Stothart. Art direc- 
tor, Arnold Gillespie. Interior decoration by Edwin 
B. Willis. Photographed by Lester White. Film 
editor, Blanche Sewell. Release date, April 13, 1934. 
Running time, 79 minutes. 


Laughing Boy Ramon Novarro 

Slim Girl Lupe Velez 

Hartshorne William Davidson 

Laughing Boy's Father Chief Thunderbird 

Laughing Boy's Mother Catalina Rambula 

Wounded Face Tall Man's Boy 

Yellow Singer F. A. Armenta 

Jesting Squaw's Son Deer Spring 

Red Man Pellicana 

Let's Try Again 

(RKO Radio) 

A marital drama of complication, which de- 
velops a triangular, or quadrangular aspect, and 
works itself out in time-honored fashion, this 
picture has all the earmarks of the stage plaj' 
transplanted to the screen, almose bodily. Be- 
ing in the nature of a problem play, and deal- 
ing as it does with the near breakup of a mar- 
riage on the rocks of a love which has grown 
careless and unenthusiastic, the film probably 
will have its greatest appeal to the feminine 
contingent of the patronage. It is to them that 
the exhibitor might well direct the greater part 
of his selling effor. 

The "Let's Try Again," which points the key- 
note of the theme of the story, as the 10-year- 
married wealthy couple, drifting apart, find 
they cannot do without each other, and agree 
to "try again," offers a good opportunity for 
appeal to women. The divorce question, and 
the ways and means looked for as alternative 
to that drastic action, are of considerable cur- 
rence in the newspapers and the home today. 

Timed in the present, and localed in the sub- 
urban New York home of the couple, the film 
combines romance and drama of the marital 
complication variety, with a small touch of 
comedy, which is humor of an indirect nature, 
rather than of the slapstick kind. The dialogue 
is smart and imparts a certain measure of 
amusement on its own account. On the whole, 
the film is definitely a motion picture of the 
sophisticated type, which should be some sort 
of clue to the exhibitor as to what he may do 
with the film and what he may expect from it. 
It is true that the story is chiefly reliant upon 
dialogue for its development, which results in 
a comparative lack of fast moving action. 

Clive Brook is the successful and wealthy 
physician, Diana Wynyard his wife. Helen 
Vinson, dancer, who has been cured by a seri- 
ous leg ailment by Brook, is in love with him. 
Brook and his wife find themselves, after 10 
years of married life, getting on each other's 
nerves, continually quarreling. Irene Hervey, 
Brook's niece, is engaged to Theodore Newton. 
On the night of the tenth anniversary of their 
wedding, planning to attend a fancy dress 
party, Brook and Miss Wynyard quarrel again, 
and she goes alone. Returning, she sits in the 
moonlit garden, and Newton, after leaving Miss 
Hervey at the door, sees, falls in love with and 
expresses his feelings for Miss Wynyard. Miss 
Hervey is a witness from the window, and next 
morning, denouncing the two, precipitates an 
open break and a calm separation between Miss 
Wynyard and Brook. 

Brook makes two attempts to leave the house, 
but each time is drawn back by something ap- 
parently stronger than himself. Newton pursues 
his love for Miss Wynyard, but then he dis- 
covers that Miss Hervey needs him more than 
does Miss Wynyard and decides to go to her, 
and from Brook's wife, finally. Brook makes 
another attempt to seek reconciliation and 
eventually, realizing that they cannot do without 
one another when it comes to the showdown, 
they go off to the country club arm in arm, 
determined to recapture their love. 

The film, for adults, will be dependent, in the 


JUNE 28th 

at the 





Produced by Winfield Sheehan 
Directed by John Ford 

Story and screen play by Reginald Berkeley 




June 30, 1934 

outcome, largely on the type of audience to 
whom it is presented. — Aaronson, New York. 

Produced and distributed by RKO Radio. Associate 
producer, Myles Connolly. Directed by Worthington 
Miner. From the play by Vincent Lawrence. Adapted 
for the screen by Worthington Miner and Allan Scott. 
Photographed by J. Roy Hunt. Sound recorder, Paul 
F. Wiser. Film editor, Ralph Dietrich. Musical direc- 
tor. Max Steiner. Art directors, Van Nest Polglase 
and Al Herman. Release date not set. Running time, 
67 minutes. 


Alice Overton Diana Wynyard 

Dr. Jack Overton Clive Brook 

Marge Irene Hervey 

Nan Duval Helen Vinson 

Paul Theodore Newton 

Phillips Arthur Hoyt 

White Heat 

(/. D. Trop) 

Set in the Hawaiian Islands, this picture, di- 
rected by Lois Weber and produced indepen- 
dently, seems to lack the finish which would 
have enhanced its production value considera- 
bly, and consequently makes the best method 
of handling by the exhibitor an open question. 

Scenically, the film has considerable merit, all 
but one sequence taking place in the islands. 
A raging fire in the sugar cane which spreads 
completely over a large part of the island, and 
a rescue from that fire impart virtually the 
only punch in the picture. The superimposition 
of a red tint over the fire scene, intended to 
increase the effect, serves rather to develop a 
sense of artificiality in the scene. 

The cast is made up partly of native Ha- 
waiians, while the major roles are taken by 
David Newell, Mona Maris, Virginia CherriU 
and Hardie Albright. The selling should be 
directed along lines of a drama in a tropical 
setting, with suggestion of the faithfulness and 
devotion of the native girl for her man, as con- 
trasted to the inability of the white girl from 
the States to stick it out with the man she 

Newell, head of a large sugar plantation, is 
wrapped up in his wearing work to the exclu- 
sion of all else. Eventually, however, he be- 
comes attached to a native girl, played well by 
Mona Maris, and takes her into his home. Her 
constant fear is that she will one day lose the 
man to whom she is so devoted. He is called 
away to the States and the home of his em- 
ployer, where he meets the employer's attrac- 
tive daughter, Miss Cherrill. He falls in love 
with her, they marry, and he returns to the 
islands with her. Miss Maris leaving. 

The boredom tells on Miss Cherrill. She is 
unable to carry on without the excitement and 
the luxurious appurtenances to living to which 
she had been accustomed. When Albright, for- 
mer fiance, arrives on his yacht, she welcomes 
him literally with open arms, and when he 
and Newell fight over his too conspicuous at- 
tentions to Miss Cherrill, she sets fire to the 
sugar cane to save Albright. The entire popu- 
lation turns out to fight the dreaded fire. New- 
ell, directing the firefighters, is thrown from his 
horse, in the center of the fire, while Miss 
Cherrill and Albright make good their escape 
to the yacht. Miss Maris plunges into the flam- 
ing cane to rescue Newell, and the two are left 
together again. 

Set in the midweek position, the picture may 
be sold with emphasis on the setting of the 
story. — Aaronson, New York. 

Produced by Seven Seas Film. Distributed by J. D. 
Trop. Directed by Lois Weber. Original story by 
James Bodrero. Photographed by Alvin Wyckoff 
and Frank Titus. Release date, July 15, 1934. Run- 
ning time, 62 minutes. 


Lucille Cheney Virginia Cherrill 

Leilani Mona Maris 

Chandler Morris Hardie Albright 

William Hawks David Newell 

Armia Arthur Clayton 

Mac Robert Stevenson 

Hale Whitney de Rahm 

Mrs. Cheyney Naomi Childers 

Adam Nani Palsa 

Lono Kolimau Kamai 

Mrs. Hale Kamaunani Achi 

Soong Peter Lee Hyun 

Leilani's father Nohili Naumu 

How's Chances? 


Modest but entertaining in the musical com- 
edy vein, this production has one or two good 
song numbers and a well maintained air of bur- 
lesque, plus a reasonable amount of girl glam- 
our, backing a story ingenious of its type. It is 
light stuff, but there is reason for rejoicing 
that an independent British studio can turn out 
comedy as good as this, which is well above 
quota level. 

A German story, "Der Frauen Diplomat," by 
B. E. Lvethge and Kurt I. Braun, has provided 
the plot. The Duke of Norrington is a young 
British peer with an attraction to, and for, 
the other sex which makes his continued pres- 
ence in England, as an officer of a crack regi- 
ment, inconvenient. He is given a post as at- 
tache in the British Embassy in one of those 
useful Ruritarian countries with a constitution 
adapted from the libretto of light opera. His 
reputation has preceded him and the Ambassa- 
dor, who is trying to negotiate a treaty favor- 
able to Britain, is anxious that there shall not 
be complications with the Prime Minister, who 
is trying to divorce his wife, and wants a co- 
respondent, or the Foreign Minister, who is a 
devoted but very jealous husband. 

In order that Norringion shall be kept on 
the rails it is arranged that a bar of his old 
regimental march shall be played whenever he 
seems to be getting too friendly, at official balls 
and such celebrations, with either of the ladies. 
Helen, a ballet dancer, complicates matters. 
She has seen Norrington's pictures in the paper 
and has boastfully and untruthfully stated to 
her cronies that he is her "boy friend" and has 
to try to make good when the crowd encounter 
the British hero in a cafe. Of course she wins 
out, but first there is an ingenious mixup in 
Norrington's flat, where he is visited by both 
the ministers' ladies, followed by their spouses. 
Searching the beedroom, the Ministers find 
Helen in bed — "planted" by Norrington, who, 
by threatening them with an action for invad- 
ing his "wife's" room, coerces them into sign- 
ing the desired treaty. He, of course, makes 
Helen's status official. 

This is a Continental musical farce in Anglo- 
Saxon terms and should be sold as such. The 
story detail provides some useful exploitation 
hints and it is safe to emphasize a very good 
comedy study by Morton Selton as the Am- 
bassador. — Allen, London. 

Produced by Norman Loudon at Sound City and 
distributed by Fox. Directed by Anthony Kimmins. 
Photography by G. Dudgeon Stretton. Sound by J. 
K. Byers. Art director, D. W. L. Daniels. Music 
arranged by Hans May. Lyrics and dialogue by 
Ivar Campbell and Harry Graham. 


Helen Tamara Desn 

Norrington Harold French 

Sir Charles Morton Selton 

Michelo Davy Burnaby 

Castellano Percy Walsh 

Dersingham Reginald Gardiner 

Jackson Roddy Hughes 

Machulla Ahab Andrea Melandrinos 

Dolores Carol Rees 

Olga Peggy Novak 

The Tell-Tale Heart 

(DuWorld Pictures) 

As his initial venture in independent produc- 
tion in England, Desmond Hurst has produced 
an adaptation of the famous story, "The Tell- 
Tale Heart," of Edgar Allan Poe, and made of 
it a motion picture of unusual interest and high 
technical value. It is highly tragic, in the fear- 
some revelation of the torture wrought by his 
imagination on the mind of a very young man. 
For the more or less discriminating audience, 
especially in the larger metropolitan centers, 
"The Tell-Tale Heart" offers an opportunity 
for the exhibitor to present to his patrons the 
unusual and the excellent. 

The fact that the film was made in England 
need not be stressed by the exhibitor. There 
are no names with which the exhibitor may 

entice patronage, the players being all English 
and all quite unknown to the regular run of 
American audiences. In the difficult lead is a 
young player, Norman Dryden, in his initial 
screen appearance of any sort. His perform- 
ance reflects favorably. The film has been 
likened to "The Cabinet of Dr. Caligari," of 
important memory on the screen. That likeness 
may be utilized effectively by the exhibitor in 
selling this film. 

The story, done in the flashback manner, is 
simplicity itself, and that very simplicity adds 
greatly to the startling effectiveness of the pic- 
ture. Technical values are of the highest order 
throughout. Perhaps women's clubs and pre- 
viewing groups could be attracted to the film, 
and their endorsement obtained. It is material 
strictly for adults. The origin of the story is 
of definite importance in the selling. 

Young Dryden, brought to the office of the 
superintendent of the insane asylum in which 
he is incarcerated, and in whose cell are wall 
drawings of a single eye, declares tha,t he is 
not insane, as they claim, and proceeds to re- 
count what caused him to be brought to the 
asylum. The screen tells the story. Dryden is 
living with an elderly man, whose miserly ways 
do not disturb him nearly as much as does one 
of his eyes, which, horribly distorted, lingers 
continuously in his mind, plays upon his imag- 
ination, and seems to follow him wherever he 
goes. The boy's supersensitive hearing makes 
a ticking clock sound like hammering on a 
wall, and enables him to detect the beat of a 
person's heart. 

Driven finally completely distracted by the 
eye of his friend, and unable to rest his mind 
even after wandering in the woods with his 
sweetheart, the boy steals down one night, at- 
tacks and kills the old man, and stuffs his body 
beneath the floor boards. Two investigators, 
answering the report of some one who had 
heard a scream, are shown over the house by 
the boy. They are satisfied, but the boy insists 
on giving them wine, and as they drink, he 
imagines he hears the beating of the dead heart 
beneath the floor. Now completely insane with 
the pressing weight of his misdeed and the ever 
present eye and heart, the boy bursts out in a 
wild confession. — Aaronson, New York. 

A Clifton-Hurst production. Distributed in the 
United States by Du World Pictures, Inc. Directed 
by Desmond Hurst. From the story by Edgar Allan 
Poe. Story adaptation and art direction by I>avid 
Plunkett Greene. Release date, June 5, 1934. Running 
time, 55 minutes. 


The boy Norman Dryden 

The old man John Kelt 

The girl Yolande Terrell 

First investigator Thomas Shenton 

Second investigator James Fleck 

The doctor Colonel Cameron 

Asylum siLperintendent H. Vasher 

March of the Years 


There is interesting material, partially 
caught by the cameras of an earlier day, in 
this latest number in the March of the Years 
series. The evolution of steam-driven trans- 
portation, terminating in the new streamlined 
trains ; the manner in which "Teddy" Roose- 
velt, when President, stormed through the coun- 
try, halting the panic of 1907, as paralleling the 
New Deal recovery from depression of Frank- 
lin Delano Roosevelt, highlight a subject of 
real interest. — Running time, 10 minutes. 

The Queen of Hearts 

( Celebrity) 

Amusing and cleverly handled is this new- 
est Celebrity ComiColor cartoon, produced by 
U. B. Iwerks, telling the story of the tarts 
which the queen has made for the king, and 
their theft by the knave. Soap powder has ac- 
cidentally gone into them instead of sugar and 
the tricky knave blows bubbles as he attempts 
to eat the stolen tarts. Then the figures rush 
back to their playing card homes. Youngsters 
especially should be amused by the subject. — 
Running time, 7 minutes. 

June 30, 1934 






"The Captain Hates the Sea" 

"Broadway Bill" 

"Servants' Entrance" 
"Judge Priest" 



"She Had to Choose" 


"The Barretts of Wimpole 

"The Merry Widow" 

"Sacred and Profane Love" 

"Paris Interlude" 
"Have a Heart" 
"Four Walls" 


"The Moonstone" 

"Tomorrow's Youth" 

"Now and Forever" 

"Notorious Sophie Lang" 

"Elmer and Elsie" 

"Mrs. Wiggs of the Cabbage 

"You Belong to Me" 


"Peck's Bad Boy" 

"The Man From Hell" 

"The Fountain" 


"Romance in the Rain" 

"The Human Side" 

"Million Dollar Ransom" 
"Imitation of Life" 


"A Lost Lady" 

"A Lady Surrenders" 

"The Case of the 
Howling I>og" 


Story by Wallace Smith. Director: Louis Mile- 

Original story by Mark Hellinger. Director: 
Frank Capra. 

Novel by Sigrid Boo. Director: Frank Lloyd. 

Based on the "Judge Priest" stories by Irvin 
S. Cobb. Screen play by Dudley Nichols and 
Lamar Trotti. 

Screen play by Lester Cole and Stuart Anthony. 
Director: Louis King. 

Based on story by Richard Carroll. Director: 
Paul Martin. 

Story by Mann Page and Izola Foster. Director; 
Ralph Ceder. 

Stage play by Rudolf Besier. Screen play by 
Claudine West and Ernest Vajda. Director: 
Sidney Franklin. 

Original operetta by Franz Lehar. Screen play 
by Ernest Vajda and Samson Raphaelson. 
Director: Ernst Lubitsch. 

Original by Edgar Selwyn. Director: Clarence 

Original play by S. J. and Laura Perelman. 
Director : Edwin Marin. 

Original by Mauri Grashin. Director: W. S. 
Van Dyke. 

Original story by David Butler and B. G. 
DeSylva. Director: David Butler. 

Play by Dana Burnet and George Abbott. Di- 
rector: Paul Sloane. 

Story by Wilkie Collins. Director: Reginald 

Original screen play by Harry Sauber. Director: 
Charles Lamont. 

Original by Jack Kirkland and Melville Baker, 
Director: Henry Hathaway. 

Original by Frederick I. Anderson. Director: 
Ralph Murphy. 

Original by George S. Kaufman and Marc Con- 
nolly. Director: Humphrey Pearson. 

From the story by Alice Hegan Rice. Director: 
Norman Taurog. 

Original by Elizabeth Alexander. Director: Al- 
fred Werker. 

Story by George W. Peck. Director: Edward 

Story and screen play by E. E. Repp. Director: 
Lew Collins. 

Story by Charles Morgan. Director: John Crom- 

Story by Jay Gorney and Sig Herzig. Director: 
Stuart Walker. 

Screen play by Ernest Pascal, Nat Ferber, Rian 
James. From the play by Christine Ames. 
Director: Edward Buzzell. 

Story by Damon Runyon. Director: Murray 

Story by Fannie Hurst. Director: John M. 

Based on the story by Willa Gather. Director: 
Alfred E. Green. 

Based on story by Mary McCall, Jr. Director: 
Archie Mayo. 

Based on a story by Erie Stanley Gardner. 
Director: Alan Crosland. 


John Gilbert, Victor McLaglen, Fred Keating, Wynne 
Gibson, Alison Skipworth, Florence Rice, Leon Errol. 

Warner Baxter, Myrna Loy, Raymond Walburn, Lynn 
Overman, Paul Harvey, Margaret Hamilton, Clarence 
Muse, Forrester Harvey, Ward Bond. 

Janet Gaynor, Lew Ayres, Ned Sparks, Walter Connolly, 
Louise Dresser, G. P. Huntley, Jr., Siegfried Rumann. 

Will Rogers, Brenda Fowler, Rochelle Hudson, Roger 
Imhof, Tom Brown, Anita Louise, David Landau, 
Henry B. Walthall, Stepin Fetchit. 

Rosemary Ames, Russell Hardie, Victor Jory, Pert Kel- 
ton, George Irving. 

"Pat" Paterson, Nils Asther. 

Isabel Jewell, Buster Crabbe, Regis Toomey, Sally 
Blane, Huntley Gordon. 

Norma Shearer, Charles Laughton, Fredric March, 
Katherine Alexander, Maureen O'Sullivan, Ferdinand 

Maurice Chevalier, Jeanette MacDonald, Una Merkel, 
Edward Everett Horton, George Barbier, Sterling 
Holloway, Minna GombcU. 

Joan Crawford, Clark Gable, Otto Kruger, Stuart Erwin. 

Otto Kruger, Robert Young, Madge Evans, Una Merkel, 
Mary Carlisle, Edward Brophy. 

Robert Montgomery, Loretta Young, Ed Brophy, Muriel 
Evans, Edward Arnold, Mickey Rooney. 

Jean Parker, James Dunn, Una Merkel, Stuart Erwin. 

Franchot Tone, Karen Morley, May Robson, Mae 
Clarke, Jack LaRue, C. Henry Gordon, Nat Pendleton, 
Gladys George, Henry Wadsworth, Christian Rub. 

David Manners, Phyllis Barry, Jameson Thomas, Evelyn 
Bostock, John Davidson, Claude King. 

Martha Sleeper, John Miljan, Dickie Moore, Gloria Shea, 
Barbara Bedford, Franklin Pangborn. 

Gary Cooper, Carole Lombard, Shirley Temple, Sir Guy 

Alison Skipworth, Gertrude Michael, Paul Cavanagh, 
Arthur Byron, Leon Errol, Charles Judels. 

George Bancroft, Frances Fuller, Roscoe Karns, George 
Barbier, Nella Walker. 

Pauline Lord, W. C. Fields, ZaSu Pitts, Evelyn 
Venable, Kent Taylor. 

Lee Tracy, Helen Mack, David Jack Holt, Arthur Pier- 
son, Lynn Overman. 

Jackie Cooper, Jackie Searl, Thomas Meighan, Dorothy 
Peterson, O. P. Heggie. 

Reb Russell, Fred Kohler, Ann Darcy, Yakima Canutt, 
Jack Rockweli, Lafe McKee. 

Ann Harding, Brian Aherne, Violet Kemble Cooper. 

Roger Pryor, Heather Angel, Victor Moore, Esther 

Adolphe Menjou, Doris Kenyon, Frank Craven. 

Edward Arnold, Mary Carlisle, Phillips Holmes. 
Claudette Colbert, Louise Beaver, Rochelle Hudson. 

Barbara Stanwyck, Ricardo Cortez, John Eldredge. 

Jean Muir. George Brent, Verree Teasdale, Arthur 
Aylesworth, Joan Wheeler, Pauline Tree. 

Warren William, Mary Astor, Dorothy Tree, Helen 
Trenholme, Gordon Westcott, Allen Jenkins, Helen 


















— COLIN CLIVE — Lionel Atwill — RegmalJ Denny — C. Autrey Smitli — Henry Stefjken- 
son — Katkleen Howard — Alan Mowtray. Screenf>lay ty R. C. SKerriff. 



STORY h Ul It to kit every woman's keart! ... 
PlayeJ ky a Jistin^uiske J kox-office cast! . . . 
DireeteJ ky a money " director wkose every picture kas 
estakkskeJ an immediate and definite kox-office draw! . , . 
Adapted ky a man witkout a weak picture on kis kst!... 
Made from a novel ky a famous autkor — a kook tkat sold 
into tke kundreds of tkousands! ... If THAT comkination 
doesn't make for a certainty of outstanding success for a 
motion picture, NOTHING EVER WILL! 

^^<^>^ A UNIVERSAL PICTURE ^^^^^^ 

Presented by CARL LAEMMLE 



June 30, 1934 



Gregory circuit of Chicago has acquired the 
unexpired lease on the Luna and Paramount 
theatres at Logansport, Ind. They will be re- 
modeled and opened during July. The lease was 
negotiated by Albert Goldman, 5 S. Wabash 


Henry Ellman is back from a business trip 
to New York. While there he and Aaron Sa- 
perstein took in the Baer-Carnera fight. 

Ed Safier, United Artists salesman, has left 
for a vacation in New York in his new Buick. 
Joe Hartman leaves this week headed eastward 
by way of Detroit and Montreal. 


Lou Golder, who owns "Elysia," was in town 
on his way to California. 


Plenty of film talent was in town last week 
with RKO and MGM, both holding their na- 
tional conventions at the Drake hotel. 


Ben Bartlestein is planning to appeal the 
revised verdict of the local board in his over- 
buying complaint against Schoenstadt. 


In the complaint of Van Nomikis and his Lo- 
gan theatre against the Essaness Embassy the 
board ruled that the clearance held by the Em- 
bassy is reasonable. 


The Gem theatre, Peoria, and the Vita, Gales- 
burg, have been closed for the summer. 


Chicago experienced its first rush of World's 
Fair visitors last week and as a result theatres 
generally did a good business. The Loop 
profited most and local circuit officials are now 
beginning to look forward to heavy grosses for 
the next couple of months. 


In two decisions the clearance and zoning 
board ruled that the Princess and Columbia 
theatres, Peoria, shall be required to play the 
product that becomes available to them within 
74 days after first run in Peoria and 30 days 
from that playdate the pictures shall become 
available to the Garden, Peoria, for third run. 
The other decision was that the clearance of 
the Orpheum and West theatres, Galesburg, on 
the Bijou and Rivoli, Monmouth, is reasonable. 


United States Supplied 
Half of Hungarian Films 

Nearly half of all films shown in Hungary 
during 1933 came from the United States, 
according to figures recently released in 
Washington by the department of commerce. 
The falling off in German imports accounts 
for a marked increase over the previous 
year. The drop in the American dollar, 
making the American film cheaper than 
hefore, is also held partially responsible 
for the increase. 

Further importance attaches to the figures 
when it is understood that fully 38 per cent 
of the Hungarian population speaks Gf^i- 
man, whereas less than two per cent under- 
stands English. Local product supplied 11 
per cent of the total films shown during 

Cantor Scenes at Fair 

The opening scenes of the Eddie Cantor 
musical, "The Treasure Hunt," produced by 
Samuel Goldwyn for United Artists release, 
will be filmed at the World's Fair in Chica- 
go. An invitation was extended by Rufus 
Dawes, president of the Fair. 

Denies Trend Is 
To Neighborhood 

To THE Editor of the Herald: 

In your June 16 issue of the Herald you 
have a long article to the effect that the out- 
lying theatres are doing a much better busi- 
ness than other theatres and that they have 
shown substantial gain in business. We do 
not know who made your reports, but it 
seemed to be by a reporter who had deter- 
mined in advance to make a report of this 
kind or who is either working for the benefit 
of the producers or the exchanges who will 
soon present new contracts and will use your 
articles to try to get higher film rental or 
larger percentage. 

The city of Louisville is no different than 
any other city in the United States and we 
know what is true in one large city is true 
of all the rest. We operate the seven largest 
motion picture outlying or neighborhood the- 
atres in the city of Louisville and they are 
located in all sections of the city as follows : 

Uptown Theatre, Bardstown Rd. and East- 
ern Parkway. 

Broadway Theatre, 816 E. Broadway. 

Baxter Theatre, 1053 Bardstown Road. 

Towers Theatre, 4th and Oak Sts. 

Ideal Theatre, 23rd and Market Sts. 

Oak Theatre, 18th and Oak Sts. 

Park Theatre, 41st and Market Sts. 

Mr. Sylvester Grove also operates two 
large outlying theatres in the city, the Capi- 
tol and the Shelby. None of these theatres 
seat less than seven hundred and are 
equipped with Western Electric equipment. 
We receive our films generally second, third 
and fourth run after they are shown in the 
downtown district. 

We wish to state that the motion picture 
business is worse than it has been in 10 
years, that our receipts are smaller and that 
our nets are less or in the red. Our film 
rental is higher than it has been at any time 
of our existence, which dates back to 1908. 
In addition to lower gross and net receipts, 
the Kentucky legislature this week passed 
a three per cent sales tax on gross receipts. 
That means that we must pay three per cent 
of the gross business we do, although we 
show a loss in our net receipts. 

In our opinion, the outlying theatres of 
Kentucky are in a deplorable state and we 
do not believe that under the present condi- 
tion of high film rental and taxes, any out- 
lying theatre can survive very much longer. 
As you have published the article showing a 
great increase in some cities of neighbor- 
hood business, we now request that you pub- 
lish this item showing the bad state of af- 
fairs in Louisville and also in the State of 
Kentucky. — Louis F. Steuerle, 402 Alamo 
Theatre Building, Louisville, Ky. 

Fanchon & Marco To Get 
St. Louis Houses in Fall 

Fanchon & Marco are expected to take 
over the Ambassador, Missouri and Grand 
Central theatres in St. Louis in September, 
while confirmation of the sale of the houses 
to the bondholders' protective committee for 
$2,000,000 is scheduled July 3. 

Sixty days afteir the present receivership 
expires, Fanchon & Marco will get the 
theatres. The expiration is anticipated 
shortly after the confirmation of sale. 


Week of June 23 


Broken Barrier Asfor 

Beau Bashful Universal 


Paramount Pictorial — No. 1 3. Paramount 
Paramount on Parade-No. 1 3. Paramount 
She Reminds Me of You. . . Paramount 


Wrong Direction RKO Radio 

Pandora Educational 

March of the Years — No. 8. Columbia 


Strong to the Finish Paramount 

Paramount Pictorial — No. 12. Paramount 

Paramount on Parade-No. 1 3. Paramount 


Grasshopper and the Ant.. United Artists 

Glory of the Kill Principal 


Masks and Memories Vitaphone 

Salted Seanuts Vitaphone 

Jolly Good Fellow Vitaphone 


The following corporations filed charters in 
Dover, Del., recently : 

Fox Idaho Theatre Corporation to operate 
theatres, listing capital of $1,000. The incor- 
porators are Raymond J. Gorman, Brooklyn, 
N. Y. ; Edward S. Williams, Great Neck, L. I., 
N. Y. ; Arthur W. Britton, West Orange, 
N. J. 

Orpheum Theatre Corporation of Omaha to 
do a general theatre business, listing capital of 
$53,500. The incorporators are C. S. Peabbles, 
L. H. Herman and Walter Lenz, of Wilming- 

Interstate Circuit, Inc., to conduct and carry 
on the business of theatrical proprietors, listing 
capital of $10,000. The incorporators are Wal- 
ter W. Gross, Joseph H. Courtney and J. D. 
Van Wagoner, New York. 

Interstate Theatre Operating Corporation to 
conduct theatres, listing capital of $50,000. The 
incorporators are Walter W. Gross, Joseph H. 
Courtney and J. D. Van Wagoner, New York. 

Lowenstein Theatres, Inc., to operate the- 
atres, opera houses, motion picture theatres, 
listing capital stock of 2,000 shares, no par 
value. The incorporators are S. L. Mackey, 
C. O. Layman and H. Kennedy, Wilmington. 

Circus Exhibition Company, to own and 
operate a circuit, listing capital of $25,000. The 
incorporators are Melmin D. Hildreth, Lewis 
S. Beck, Washington, D. C, and Charles W. 
Mander, Alexandria, Va. 

Photo Process Research Corporation to deal 
in photo-color films, listing capital of $100,000. 
The incorporators are D. B. Hillard, R. M. 
Hillard, E. P. Crawford, Wilmington, Del. 

Sportland, Incorporated, to conduct and oper- 
ate amusement parks, listing capital stock of 
100 shares, no par value. The incorporators 
are W. E. Cumberland, George E. Bond, Philip 
Goldstein, Washington, D. C. 

Major Film Productions, Inc., to produce 
motion pictures, listing capital of $300,000 and 
3,000 shares, no par value. The incorporators 
are M. M. Lucey, H. I. Brown and L. S. 
Dorsey, of Wilmington. 

Opens Own Lav/ Office 

Louis E. Swartz, formerly on the Para- 
mount legal staff, has opened his own of- 
fice in Los Angeles. 

June 3 0, 19 34 




The total of theatre receipts for the calendar week ended June 23, 1934, from 
1 06 houses in 1 9 major cities of the country, reached $ 1 ,032,967, an increase of $70,635 
over the total for the previous calendar week, ended June 16, when 104 theatres in 19 
cities reported an aggregate gross of $962,332. 

{Copyright, 1934: Reproduction of material from this department without credit to Motion Picture Hekald expressly forbidden) 



Boston 2,900 25c-50c 

Fenway 1,800 30c-50c 

Keith's 3.500 30c-50c 

Loew's State ... 3,700 35c-50c 

Metropolitan .... 4,350 30c-65c 

Paramount 1,800 30c-50c 


Buffalo 3,500 30c-55c 

Century ......... 3,000 25c 

Court Street .... 1,200 40c 

Hippodrome 2,100 2Sc-40c 

Hollywood 300 2Sc-40c 

Lafayette 3,300 25c 


Chicago 4,000 35c-68c 

McVicker's 2,284 30c-60c 

Oriental 3,940 25c-40c 

PaUce 2.509 35c-7Sc 

Rooievelt 1.591 25c-5ec 

State-Lake 2,776 20c-35c 

United Artists .. 1,700 30c-60c 


Allen 3,300 20c-40c 

Hippodrome 3,800 30c-44c 

RKO Palace .... 3,100 30c-44c 

State 3,400 30c-44c 

Stillman 1,900 20c-40c 

Warner's Lake... 800 30c-40c 


Aladdin 1,500 25c-50c 

Current Week 

Previous Week 

High and Low Gross 


Gross Picture 

Gross (Tabulation covers period from January. 1933.) 

"Uncertain Lady" (U.) and 19,000 

"Orders Is Orders" (Gaumont-British) 
"The Merry Frinks" (F. N.) and.. 8,000 
"Fog Over Frisco" (F. N.) 

"Baby Take a Bow" (Fox) 18,000 

"The Thin Man" (MGM) 20,000 

"The Great Flirtation" (Para.).... 31,000 

"The Merry Frinks" (F. N.) and.. 9,000 
"Fog Over Frisco" (F. N.) 

"Many Happy Returns" (Para.).. 14,000 

"The Merry Frinks" (F. N.) and 5,800 
"Sorrell and Son" (U. A.) 

"Baei--Carnera Fight" (First Div.) 5,200 

"Mandalay" (F. N.) 5.903 

"The Constant Nymph" (Fox) and 1,100 
"Heart Song" (Fox) 

"Little Man, What Now?" U.).... 7,900 

"Little Miss Marker" (Para.).... 36,000 

'The Key" (W. B.) 8,500 

"Merry Wives of Reno" (W. B.) 17,000 

"Cockeyed Cavaliers" (Radio) 30,000 

"Little Man, What Now?" (U.).. 8,000 

"Three on a Honeymoon" (Fox).. 12,000 

"Now I'll Tell" (Fox) 15,000 

'The Hell Cat" (Col.) and 16,500 

"Most Precious Thing in Life" (Col.) 
"He Was Her Man" (W. B.) and 8,000 
"Call It Luck" (Fox) 

"I Give My Love" (U.) and 17,000 

"Let's Talk It Over" (U.) 

"Sadie McKee" (MGM) 18,000 

(2nd week) 

"Many Happy Returns" (Para.).. 30,000 

"He Was Her Man" (W. B.) and 8,500 
"Call It Luck" (Fox) 

"The Thin Man" (MGM) 15,800 

"Bottoms Up" (Fox) and 6,200 

"Wharf Angel" (Para.) 

'Catherine the Great" (U.A.) 6,100 

"The Ghoul" (Gaumont-British)... 100 
and "Orders Is Orders" 

(Gaumont-British) (2nd week-3 days) 

"Whirlpool" (Col.) and 5,200 

"Social Register" (Col.) 

'Little Man, What Now?" (U.) 35,000 

"The Hollywood Party" (MGM) 7,0fiO 

"Registered Nurse" (F. N.) 12,000 

"The Party's Over" (Col.) 18,000 

'The Thin Man" (MGM) 8,000 

"Coming Out Party" (Fox) 11.000 

"Sadie McKee" (MGM) 9.000 

(3rd week) 

"I'll Tell the World" (U.) 3,000 "The Black Cat" (U.) 4,100 

"The Key" (W. B.) 6,500 

"Smarty" (W. B.) 13,500 

"Little Miss Marker" (Para.).... 10,000 

"Double Door" (Para.) and 3,000 

"Love Past Thirty" (Freuler) 

"The Merry Frinks" (F. N.) and.. 1,500 
"The Morning After" (Majestic) 

"Now I'll Tell" (Fox) 5.0O0 

"Upper World" (W. B.) 8,500 

(4 days) 
"Fog Over Frisco" (F. N.) 

(3 days) 

"The Thin Man" (MGM) 11,500 

"The Hollywood Pa:rty" (MGM) and 3,200 
"Cross Streets" (Chesterfield) 

"No Greater Glory" (Col.) and.. 1,800 
"Hell Bent for Love" (Col.) 

"Half a Sinner" (U.) l,200"Springtime for Henry" (Fox).. 3.000 

(6 days) 

Denham 1,500 15c-40c "Many Happy Returns" (Para.). 

Denver 2,500 25c-SOc 

Orpheum 2,600 25c-50c 

Paramount 2,000 2Sc-40c 


Fisher 2,700 15c-50c 

Fox 5.100 ISe-SOc 

Michigan 4,000 lSc-50c 

United Artists .. 2,000 25c-50c 

"Twentieth Century" (Col.) 

"The Hollywood Party" (MGM).. 



'Little Miss Marker" (Para.) 1,500 

(2nd week-2 days) 

'Private Scandal" (Para.) 4,000 

(5 days) 

'Little Man, What Now?" (U.) 6,500 

"Crime of Helen Stanley" (Col.) 
and "Social Register" (Col.) 
(3 davs) 

"Now I'll Tell" (Fox) 1,300 

(4 days) 

"The Merry Frinks" (F. N.) 7.900 

"Baby Take a Bow" (Fox) 19,800 

"The Thin Man" (MGM) 19,600 

"Little Man, What Now?" (U.).. 7,200 

"I'll Tell the World" (U.)... 

(W. B.). 


"A Modern Hero 
(3 days) 

"Sorrel! and Son" (U. A.) 1,500 

(4 days) 

"Thirty Day Princess" (Para.).... 6,300 

"Where Sinners Meet" (Radio).. 22,000 

"Little Miss Marker" (Para.).... 18,000 

"Born to Be Bad" (U. A.) 4,500 

High 1-13-34 "Fog" 

Low 3-11 "Topaze" 

High 1-14 "Island of Lost Souls" and } 

"Billion Dollar Scandal" 1 
Low 7-29 "She Had to Say Yes" and ) 
"Arizona to Broadway" ) 

High 12-2 "Little Women" 

Low 3-11 "When Strangers Marry".... 

High 1-7 "Strange Interlude" 

Low 3-11 "Men Must Fight" 

High 11-4 "I'm No Angel" 

Low 3-11 "King of the Jimgle" 

High 2-25 "Dangerously Yours" and ) 

"Deception" | 
Low 8-12 "Mary Stevens, M.D." and ) 

"Flying Devils" ) 






High 12-9 "Dancing Lady" 31,000 

Low 3-25 "Our Betters" 9,800 

High 4-21-34 "The Lost Patrol" and ) 

"Three on a Honeymoon" f 8,100 
Low 12-16 "Solitaire Man" and ) 

"Day of Reckoning" ( 3,500 

High 5-19-34 "The House of Rothschild" 
Low 8-26 "Moonlight and Pretzels".... 

High 1-7 "Goona Goona" 

Low 11-25 "Night and Day" 

High 3-10-34 "It Happened One Night" 

and "Before Midnight" 
Low 12-23 "Myrt and Marge" 

High 9-2 "Goodbye Again" 

Low 4-29 "Central Airport" 

High 4-14-34 "Wonder Bar" 

Low 7-1 "The Woman 1 Stole" 

High 10-14 "I'm No Angel" 

Low 12-16 "A Man's Castle" 

High 9-9 "Morning Glory" 

Low 4-28-34 "Glamour" 

High 10-14 "Penthouse" 

Low 3-4 "Luxury Liner" 

High 1-13-34 "Goodbye Love" 

Lew 2-18 "Lucky Devils" 

High 5-5-34 "The House of Rothschild" 
Low 3-18 "Perfect Understanding" 

High 11-11 "Private Life of Henry VIII" 
Low 3-4 "Infernal Machine" and ) 
"Exposure" ) 
High 10-21 "East of Fifth Avenue".... 

Low 6-10 "Circus Queen Murder" 

High 3-3-34 "It Happened One Night".. 
Low 8-19 "No Marriage Ties" 

High 8-19 "Tugboat Annie" 

Low 6-24 "The Eagle and the Hawk" 

High 10-28 "I'm No Angel" 

Low 11-18 "Stage Mother" and ) 
"Hell and High Water" j 
High 10-28 "Footlight Parade". 

Low 6-23-34 "The Merry t'rinks" and ) 
"Tlie Morning After" ] 

High 2-25 "Cavalcade" 

Low 6-23-34 "Half a Sinner" 

(6 days) 

High 10-28 "I'm No Angel" 

Low 6-3 "Mussolini Speaks," "Night of ' 
Terror" and "Soldiers of the Storm" ] 

High 1-13-34 "Roman Scandals" 

Low 12-16 "The World Changes" .... 

High 2-17-34 "Hi, Nellie!" 

Low 6-10 "Zoo in Budapest" 

High 4-1 "The Kid From Spain" 

Low 4-7-34 "Ever Since Eve" and | 

"Son of Kong" } 






















High 1-28 "Silver Dollar" 15,400 

Low 3-18 "Secret of Madame Blanche" 3,100 

High 9-16 "Sing, Sinner. Sing" 32,300 

Low 5-15 "After the Ball" and \ 

"Afraid to Talk" J 5,400 

High 4-7-34 "Mystery of Mr. X" 31,400 

Low 7-1 "College Humor" 7.300 

High 5-12-34 "The House of Rothschild" 17,600 

Low 3-25 "The Sign of the Cross" 4.100 


The audience applauded 
spontaneously and enthu- 

Motion Picture Daily 
Saturday, June 23, 1934 

Grace Moore's person- 
ality and singing tri- 
umph in a production 
that is a credit to the 

Motion Picture Daily 
Saturday, June 23, 1934 

TRIUMPH For 1954-1955 ! 

To Columbia's hit roster, 
showmen may now add 
"One Night of Love/' 

Motion Picture Daily 
Saturday, June 25, 1954 

After key city notices 
this star may find 
herself a rage, both as 
star and singer. 

Motion Picture Daily 
Saturday, June 25, 1954 



June 30, 1934 



Current Week 

Previous Week 






Chinese 2,500 S0c-$1.65 

Pantages 3,000 25c-40c 

W.B. Hollywood. 3,000 25c-55c 


Apollo l.lOO 200-400 

Circle 2.800 20c-40c 

Lyric 2,000 20c-40c 

Palace 3.000 2Sc-40c 

Kansas City 

Mainstreet 3,049 25c 

Midland 4,000 25c 

Newman 1,800 25c 

Tower 2,200 2Sc 

Uptown 2,000 25c 

Los Angeles 

Filmarte 800 40c-50c 

Loew's State ... 2,416 30c-SSc 

Paramount 3,596 30c-S5c 

RKO 2,700 2Sc-40c 

W. B. Downtown 3.400 2Sc-55c 


Century 1,650 25c-40c 

Lyric 1.238 20c-25c 

Minnesota 4,000 25c-50c 

RKO Orpheum... 2,900 25c-50c 

State 2,300 25c-40c 

World 400 25c-75c 


Capitol- 2,547 25c-60c 

Imperial 1,914 25c -500 

Loew's 3,115 25c-65c 

Palace 2,600 25c-75c 

Princess 2,272 2Sc-65c 

New York 

Astor 1,012 S5c-$2.20 

Capitol 4,700 35c-$1.65 

Mayfair 2,300 3Sc-85c 

Palace 2,S00 25c-75c 

Paramount 3,700 35c-99c 

Rialto 2,200 2Sc-6Sc 

RivoU 2.200 35c-99c 

RKO Center ... 3.700 25c-55c 

RKO Music HaU 5,945 35c-$1.65 

Roxy 6,200 2Sc-6Sc 

Strand 3,000 25c-$1.10 

"The House of Rothschild" (U.A.) 7,560 

(3 days ending 10th week) 

"Little Man, What Now?" (U.).. 3.200 

"The Merry Frinks" (F. N.) 9,00C 

"Baby Take a Bow" (Fox) 3,250 

"Twentieth Century" (Col.) 4,000 

"He Was Her Man" (W. B.).... 4,500 
(6 days) 

"The Thin Man" (MGM) 4,500 

"Glamour" (U.) 23,000 

(7 days and Sat. late show) 

"Operator 13" (MGM) 12,000 

(7 days and Sat. midnite show) 

'Many Happy Returns" (Para.) and 6,400 
"I Believed in You" (Fox) 

(7 days and Sat. late show) 

"Upper World" (W. B.).. 6,400 

(7 days and Sat. midnite show) 

"Little Man, What Now?" (U.) 3,500 

(2nd week-8 days) 

"No Greater Glory" (Col.) 600 

(3rd week) 

"Sadie McKee" (MGM) 15,407 

"Here Comes the Groom" (Para.).. 17,425 

"Stingaree" (Radio) 11,000 

(2nd week) 

"The Merry Frinks" (F. N.).... 8.000 

'AH Men Are Enemies" (Fox).. 4,000 

'Looking for Trouble" (U.A.).... 1,500 

'Change of Heart" (Fox) 8,000 

'The Circus Down" (F. N.) 6,750 

'Manhattan Melodrama" (MGM) 5,500 
(U. A.) 

"The House of Rothschild" (U. A.) 9,C00 

(10th week-4 days) 

"Springtime for Henry" (Fox) and 3,200 
"The Love Captive" (U.) 

'Fog Over Frisco" (F. N.).. 


"Catherine the Great 
(4th week) 


"Wild Gold" (Fox) 2,000 

"Many Happy Returns" (Para.).. 4,500 

"Little Man, What Now?" (U.).. 4,000 

"Sorrell and Son" (U. A.) 3,500 

"Twentieth Century" (Col.) and.. 5,500 
"Sisters Under the Skin" (Col.) 

(Syi days and Sat. late show) 

"Sorrell and Son" (U. A.) 7,000 

(6 days and Sat. midnite show) 

"Little Miss Marker" (Para.) and 7,000 
"Crime of Helen Stanley" (C)ol.) 

(8 days and Sat. late show) 

"The Party's Over" (Col.) 5,700 

(7 days and Sat. midnite show) 

"Little Man, What Now?" (U.).. 5,800 

(1st week) 

"No Greater Glory" (Col.) 600 

(2nd week) 

"Change of Heart" (Fox) 10,700 

"The Great Flirtation" (Para.).. 19.416 

"Stingaree" (Radio) 7,100 

(1st week) 

"Fog Over Frisco" (F. N.) 10,000 

"Sorrell and Son" (U. A.) 4,000 

"Private Scandal" (Para.) 1,500 

"Murder at the 'Vanities" (Para.).. 8,000 

"Registered Nurse" (F. N.) 4,000 

"Double Door" (Para.) 5,500 

"Catherine the Great" (U. A.).... 2,500 
(3rd week) 

'Manhattan Melodrama" (MGM).. 9,500 "Murder at the Vanities" (Para.) 8,000 
and "Harold Teen" (W. B.) and "She Made Her Bed" (Para.) 

'Wine, Women and Song" (Cliad- 6,500 

wick) and "Pride of the Legion" 

■Journal of a Crime" (F.N.) and 8,000 "Crime Doctor" (Radio) and 7,500 

"Come On, Marines" (Para.) "Finishing School" (Radio) 

'The Hollywood Party" (MGM).. 9,000 "Viva Villa!" (MGM) and 10,500 

and "Mandalay" (F. N.) "Sleeping Car" (British) 

•Hi. Nellie!" (W. B.) and 6,000 "Sorrell and Son" (U.A.) and 6,000 

'Convention City" (F. N.) "Trouble" (British) 

'The House of Rothschild" (U.A.) 10,600 
(14th week) 

"Men in Wliite" (MGM) 35,200 

(2nd week) 

'Private Scandal" (Para.) 7,800 

"Murder at the Vanities" (Para.) 15,500 

'Here Comes the Groom" (Para.) 18.500 

'Murder on the Blackboard" .... 10,000 

'Are We Civilized?" (Raspin)... 17,000 

'Now I'll Tell" (Fox) 11,800 

(4 days) 
'Where Sinners Meet" (Radio) 

(3 days) 

'Life of Vergie Winters" (Radio) 67.000 

'Let's Talk It Over" (U.) 16,200 


'Fog Over Frisco" (F. N.) 11,425 

(2nd week) 

"The House of Rothschild" (U.A.) 15.400 
(13th week) 

"Men in White" (MGM) 61,000 

(1st week) 

"The Love Captive" (U.) 5,500 

"Little Man, What Now?" (U.).. 10,000 

"Many Happy Returns" (Para.).. 28,000 

"World in Revolt" (Mentone) 18,000 

(12 days) 

"Born to Be Bad" (U.A.) 9,900 

(2nd week) 

"Thirty Day Princess" Para.) 5,000 

(4 days) 
"Crime Doctor" (Radio) 

(3 days) 

"Sisters Under the Skin" (Col.).. 59,000 

"Such Women Are Dangerous" (Fox) 17,000 

"Fog Over Frisco" (F. N.) 14,616 

(1st week) 

High and Low Gross 

(Tabulation covers period from January, 1933.) 

High 9-9 "Dinner at Eight" 36.656 

Low 4-1 "King Kong" 14,600 

High 1-7 "Handle With Care" 13,000 

Low 3-3-34 "Fugitive Lovers" and ) 

"The Poor Rich" ) 1,500 

High 3-25 "42nd Street" 26,000 

Low 1-27-34 "The Big Shakedown".... 7,000 

High 2-18 "State Fair" 7.000 

Low 6-16-34 "Wild Gold" 2,000 

High 8-19 "She Had to Say Yes" 12,000 

Low 3-4 "The Sign of the Cross" 2,500 

(2nd run) 

High 7-22 "College Humor" 9.500 

Low 11-11 "Saturday's Millions" 3,000 

High 2-3-34 "Sons of the Desert" 12,500 

Low 6-16-34 "Sorrell and Son" 3,500 

High 6-23-34 "Glamour" 23.000 

Low 5-20 "Sweepings" 4,008 

High 1-7 "Strange Interlude" 30,000 

Low 4-15 "Perfect Understanding" ... 4.900 

High 10-21 "I'm No Angel" 20.000 

Low 5-27 "Picture Snatcher" 2.800 

High 6-23-34 "Upper World" 6,400 

Low 5-5-34 "Let's Fall in Love" 4,000 

High 1-6-34 "Mr. Skitch" 8.500 

Low 7-1 "Lilly Turner" 1,600 

High 4-14-34 "Moon Over Morocco" .... 7,600 

Low 5-12-34 "Through the Centuries" 500 

High 4-7-34 "Riptide" 28,500 

Low 2-24-34 "Coming Out Party" 4,870 

High 1-7 "No Man of Her Own" 30,000 

Low 3-18 "King of the Jungle" 10,000 

High 3-31-34 "Little Women" 15,500 

Low 9-30 "Brief Moment" 1.700 

High 3-25 "42nd Street" 19^ 

Low 6-2-34 "Merry Wives of Reno" ) 

and "Harold Teen" ) 5,000 

High 4-22 "Secrets" 5,500 

Low 3-11 "Secret of Madame Blanche" 2,500 

High 4-1 "20,000 Years in Sing Sing".. 3,000 

Low 11-11 "I Loved a Woman" 1,000 

High 11-11 "I'm No Angel" 10,000 

Low 2-3-34 "Eskimo" 7,000 

High 1-7 "Animal Kingdom" 14,000 

Low 3-11 "Cynara" 3,000 

High 4-29 "Cavalcade" 8.000 

Low 3-11 "King of the Jungle" 3,500 

High 5-5-34"PrivateLifeof Henry VIII" 4,300 
(5th week) 

Low 11-25 "Vi Som Gar Koksvagen".. 1,000 

High 2-24-34 "Queen Christina" 13,500 

Low 12-23 "Havana Widows and ( 

"Ever in My Heart" ( 7,500 

High 6-23-34 "Wine, Women and Song" 1 

and "Pride of the Legion" J 6,500 

Low 7-8 "Les Bleus d'Amour" 1,500 

High 1-21 "The Mask of Fu Manchu".. 14.500 
Low 6-2-34 "Jack Ahoy" and ) 

"The Lost Chord" ) 7,000 

High 2-18 "The Sign of the Cross"... 15,500 
Low 6-2-34 "20 Million Sweethearts" ^ 

and "Secrets of a Registered Nurse" 1 8,500 
High 1-7 "The Kid From Spain" and ( 

"Speed Demon" ( 12,000 
Low 12-23 "Sing, Sinner, Sing" and ) 

"The Chief" ) 5,000 

High 4-14-34 "The House of Rothschild" 23,730 
(4th week) 

Low 3-25 "The White Sister" 14,559 

High 4-7-34 "Riptide" 63,373 

Low 2-10-34 "You Can't Buy Everything" 15.500 

High 1-7 "The Half Naked Truth".... 24,750 

Low S-19-J4 "Cheaters" (6 days) 2,700 

High 2-4 "Animal Kingdom" 16,150 

Low 4-15 "Parole Girl" 4.500 

High 10-21 "I'm No Angel" 83,450 

Low 2-4 "Hello, Everybody" 15,600 

High 4-7-34 "The Lost Patrol" 32,800 

Low 4-15 "Destination Unknown" and j 

"The Fighting President" f 5,800 

High 12-30 "Roman Scandals" 48,000 

Low 8-5 "The Rebel" 7,200 

High 1-7 "Animal Kingdom" 71,267 

Low 3-17-34 "Fashion Frolics of 1934" } 

and "Let Fall in Love" ( 4.800 

High 11-25 "Little Women" 109,000 

Low 6-17 "Ann Carver's Profession" 44.938 

High 11-25 "The Invisible Man" 42,000 

Low 1-28 "Air Hostess" 9.100 

High 10-14 "Footlight Parade" 55.190 

Low 12 23 "Sin of Nora Moran" b-S-V 

June 30, 1934 





Current Week 

Previous Week 

High and Low Gross 




Gross (Tabulation covers period from January, 1933.) 

Oklahoma City 

Capitol 1,200 10c-41c 

Criterion 1.700 10c-56c 

Liberty 1.500 10c-36c 

Midwest 1.500 10c-56c 


Brandeis 1.200 25c -35c 

Orpheum 3,000 25c-40c 

Paramoum 2,900 25c-40c 

World 2.500 25c-35c 


Arcadia 600 25c-50c 

Boyd 2,400 40c-6Sc 

Earle 2,000 40c-6Sc 

Fox 3,000 30c-60c 

Karlton 1.000 30c-S0c 

Stanley 3.700 40c-65c 

Stanton 1,700 30c-S5c 

"Many Happy Returns" (Para.).. 2,500 

"Operator 13" (MGM) 4,200 

"The Black Cat" (U.) 2,100 

(4 davs) 

"Sleepers East" (To.x) 1,800 

(3 da\sl 

"Dr. Monica" (W. B.) 3,500 

'Where Sinners Meet" (Radio) and 5,500 
■'The Circus Clown" (F. N.) 

"The Black Cat" (U.) and 7,000 

"The Hollywood Party" (MGM) 

"Operator 13" (MGM) 7,800 

"Now I'll Tell" (Fox) 6,750 

"The Witching Hour" (Pira.) 1,200 

(5 days) 

"Stingaree" (Radio) 9,000 

(6 days) 

"Return of the Terror" (W.B.).. 12,000 
(6 days) 

"Call It Luck" (Fox) 22.000 

(6 days) 

^'Finishing School" (Radio) 2,200 

(6 days) 

"Operator 13" (MGM) 9,500 

(6 days) 

'Born to Be Bad" (U. A.) 5,000 

(6 days) 

"Glamour" (U.) 1,600 

"Change of Heart" (Fox) 4,000 

"Half a Sinner" (U.) 3,100 

(4 days) 

"Uncertain Lady" (U.) 1.900 

(3 days) 

"Little Man, What Now?" (U.).. 3,500 

^'The Merry Frinks" (F. N.) and 4,000 
'Finishing School" (Radio) 

'Such Women Are Dangerous".. 7,000 
(Fox) and "Double Door" (Para.) 
'Murder at the Vanities" (Para.) 6,000 

'Smarty" (W. B.) 6,800 

"We're Not Dressing" (Para.).... 2,200 
(7 days) 

"Little Man, What Now?" (U.).. 10,000 

(6 days) 

"Strictly Dynamite" (Radio) 13,000 

(6 days) 

"Springtime for Henry" (Fox) 14,0(X) 

(6 days) 

"No Greater Glory" (Col.) 2,300 

(6 days) 

"The Key" (W. B.) 8,500 

(6 days) 

'Double Door" (Para.) 6,000 

(6 days) 

High 1-6-34 "Going Hollywood" 4,100 

Low 3-11 "From Hell to Heaven" 1,359 

High 11-18 "CoUegre Coach" 11,008 

Low 3-11 "Dear All Wires" 1,800 

High 6-16-34 "Half a Sinner" and ) 

"Uncertain Lady" ) 5,000 
Low 3-18 "The Death Kiss" and I 

"The Fourth Horseman" j 1,100 

High 2-25 "State Fair" 8,500 

Low 3-11 "Employees' Entrance" 1,400 

High 11-18 "One Man's Journey" 10,750 

Low 12-30 "The World Changes" and ) 

"Havana Widows" ) 3,501 

High 3-10-34 "Easy to Love" 17,250 

Low 4-29 "Sweepings" S,000 

High 7-22 "Gold Diggers of 1933" 13,250 

Low 2-24-34 "Six of a Kind" and I 

"Good Dame" j 5,250 

High 6-3 "Peg O' My Heart" and 1 

"Perfect Understanding" ) 7,500 
Low S-19-34 "As the Earth Turns" ) 

and "Smoky" J 3,250 

High 1-6-34 "Duck Soup" (7 days).... 6,500 

Low 6-2-34 "The Trumpet Blows" 1,500 

High 1-6-34 "Little Women" 30,000 

Low 12-23 "Right to Romance" 8,000 

High 4-7-34 "Harold Teen" 40,000 

Low 10-21 "Saturday's Millions" 10,000 

High 4-22 "Cavalcade" 29,000 

Low 8-5 "F. P. 1" 13,000 

High 4-8 "42nd Street" 7.700 

Low 6-23-34 "Finishing School" 2,200 

High 11-25 "I'm No Angel" 32,500 

Low 6-16-34 "The Key" 8,500 

High 6-3 "The Little Giant" 10,000 

Low 7-14 "I Love That Man" 4,000 

Portland, Ore. 

Broadway 1.912 

Music Box 3,000 

Oriental 2,040 

Pantaves 1.700 

Paramount 3,008 

(Jnited Artists 





"The Hollywood Party" (MGM).. 3,900 

"Strictly Dynamite" (Radio) 2,800 


"Upper World" (W. B.) and 1.903 

"Uncertain Lady" (U.) 
"Monte Carlo Nights" (Monogram) 

"Little Miss Marker" (Para.) and 
"Sisters Under the Skin" (Col.) 


"The Thin Man" (MGM) and.... 5,000 

"The Love Captive" (U.) 

"The Black Cat" (U.) 3,000 

"He Was Her Man" (W. B.) and 2,000 

"Keep 'Em Rolling" (Radio) 

"The Morning After" (Majestic).. 1,900 

"Thirty Day Princess" (Para.).... 6,000 
and "Crime of Helen Stanley" (Col.) 

2Sc-40c "Operator 13" (MGM) 4,500 "Little Man, What Now?" (U.). 


High 4-7-34 "Wonder Bar" 13,000 

Low 3-11 "WhatI No Beer?" 3,500 

High 12-9 "Little Women" 14.000 

Low 5-13 "No More Orchids" 1,600 

High 10-14 "Rafter Romance" 14,000 

Low 11-18 "College Coach" 1,600 

High U-4 "Lady for a Day" 10,200 

Low 4-21-34 "Laughing at Life" 1,506 

High 11-18 "The Way to Love" 12,000 

Low 12-2 "Walls of Gold" 3.500 

High 4-28-34 "The House of Rothschild" 9,800 

Low 3-11 "Madame Butterfly" 1,600 

San Francisco 

Fox 4,600 

Golden Gate .... 2,800 

Orpheum 3,000 

Paramount 2,670 

St. Francis 1,400 

Warfield 2,700 

I0c-35c "Take the Stand" (Liberty) and.. 6,000 
"Loud Speaker" (Monogram) 

25c-40c "Let's Talk It Over" (U.) 16,000 

15c-40c "Where Sinners Meet" (Radio).... 9,00n 

15c-6Sc "He Was Her Man" (W. B.) and 9.000 

"Call It Luck" (Fox) 

15c-65c "The Thin Man" (MGM) 7,500 

2Sc-65c "Dr. Monica" (W. B.) 20,500 

"The Hell Cat" (Col.) and 5,500 

"Stolen Sweets" (Chesterfield) 

"Most Precious Thing in Life" (Col.) 11,200 
"Little Man, What Now?" (U.) 8,500 

"Fog Over Frisco" (F. N.) and.... 8,500 

"Springtime for Henry" (Fox) 

"Murder at the Vanities" (Para.).. 6,000 

"The Thin Man" (MGM) 20,000 

High 4-8 "Should a Woman Tell?" ( 

and "Speed Demon" f 15,500 
Low 6-16-34 "The Hell Cat" ) 

and "Stolen Sweets" ) 5,500 

High 2-11 "The Mummy" 25,500 

Low 10-21 "My Woman" 8,000 

High 6-9-34 "Sing and Like It" 19,500 

Low 2-10-34 "Search for Beauty" and ) 

"From Headquarters" } 5,000 

High 10-28 'Tm No Angel" 40,000 

Low 12-23 "Sitting Pretty" 7,000 

High 3-25 "What! No Beer?" and [ 

"Broadway Bad" j 13,500 
Low 4-14-34 "Registered Nurse" and ( 

"Murder in Trinidad" ) 3,500 

High 1-6-34 "Dancing Lady" 26,000 

Low 5-27 "Story of Temple Drake".... 10,000 


Blue Mouse 950 25c-35c 

Fifth Avenue .. 2,750 2Sc-55c 

Liberty 2,000 10c-2Sc 

Music Box 950 25c-50c 

Music Hall 2,275 25c-75c 

Paramount 3,0!3O 25c-35e 

'The Trumpet Blows" (Para.) and 2,800 
'Afifairs of a Gentleman" (U.) (15c-25c) 

'Manhattan Melodrama" (MGM).. 7,500 
(8 days) 

■'Shadows of Sing Sing" (Col.) and 3,400 

'Dynamite Ranch" (U.) 

'Where Sinners Meet" (Radio).. 3,500 

'Stingaree" (Radio) 4,500 

(6 days) (25c-55c) 

"The Hollywood Party" (MGM).. 5,200 

"Fog Over Frisco" (F. N.) and.. 2,700 
"Half a Sinner" (U.) 

"20 Million Sweethearts" (F. N.) 6,500 
(9 days) 

'Social Register" (Col.) and 3,200 

"He Couldn't Take It" (Monogram) 

"The Black Cat" (U.) 2,900 

"Strictly Dynamite" (Radio) 6,500 

"Private Scandal" (Para.) 5,000 

High 12-9 "Little Women" 8,500 

Low 8-19 "The Rebel" 2,500 

High 8-S "Tugboat Annie 19,250 

Low 5-5-34 "Tarzan and His Mate".... 5,000 

High 3-3-34 "It Happened One Night" 7,000 

Low 6-24 "Uptown New York" 3,000 

High 11-11 "Footlight Parade" 8,000 

Low 6-16-34 "The Black Cat" 2,900 

High 5-26-34 "Wild Cargo" 11,500 

Low 6-23-34 "Stingaree" (6 days) 4,500 

High 1-7 "A Farewell to Arms" 9,500 

Low 1-13-34 "Dancing Lady" (2nd run) 4,008 

Featuring the Child Sensation 


OF Youth 






Distributed in U. S. A. 
>y FOX Fil m Corporation 


with Junior Coghian 

Darn good... The kids do swell work."— L. 4. Illustrated Daily News 


with Junior Coghian, Harry Myers, Lila Leslie 

"Amusing . . . good fun"— M. P. Herald 


with Junior Coghian, Kenneth Howell, Dorothy Ward 

Suggested by the story "Mild Oats" by Florence Ryerson and Colin Clements 
"Altogether delightful-Al! do their stuff well, especially Shirley Temple 

Rob Wagner's Script 


with Junior Coghian 

Ployed and exploited by the Music Hall, Roxy, Mayfair and Palace Theaters, New 
York, and now being extensively exploited by the RKO Metropolitan Circuit 

Shirley Temple Shorts 

Smart showmen are cashing in on the 
sky-rocketting popularity of little Shirley 
Temple, the wonder girl of the screen, 
who has swept the country by her re- 
markable performance in several recent 

Several good short subjects were made 
under the Educational banner before she 
went into featured roles and should be 
played, regardless of whether you have 
played them before. 

Book them in and give them a good 
play in alt your advertising, lobby, trail- 
ers, etc. It will get you dough especially 
now while everyone is talking about her. 
Take this tip, Mr. Theatreman, and con- 
tact your Fox-Educational exchange right 

Shirley Temple short subjects | 
; ore exploitation speclols In | 
leading New York theatres. 

June 30, 1934 



Sill J. C. jENriNS-liis CoLruM lEIf^ 

Neligh, Nebraska 


We have received two or three letters 
from "Gertrude" in the Round Table Club 
department of the Herald. If Gertrude is 
married and has seven or eight children who 
refer to her as "The Old Woman," it is no 
wonder that she called us "A sly old fox," 
but we have written her and informed her 
that out here we are being referred to by 
our golf associates and the jawbone poker 
club as "the wolf" and that there isn't a 
drop of fox blood in us. 

She writes us that she has found a new 
way of making biscuits, that instead of 
using soda in them she uses cement, and that 
A-Mike Vogel uses them for killing wild ele- 
phants and other predatory animals in the 
jungles on Broadway. We hope A-Mike 
will be careful ; he might hit a producer. If 
Gertrude has not made the mistake that hun- 
dreds of other New York girls have made, 
and she is being addressed as "Miss Ger- 
trude," it is no wonder that she is consid- 
ered the belle of that cross-roads village. 
Out here she would look like a crocus in a 


Dempsey in Films — Once 

Last night we saw George White's "Scan- 
dals," and, as you probably already know, 
this is a musical show, and if your audience 
likes musicals they will undoubtedly like this 
one, for it has an usual bunch of well 
di-essed (?) dancing girls and George 
White, and George White is a good one and 
played an excellent part with what he was 
given to play. Besides that it had Rudy 
Vallee and Jimmy Durante, and Nvhat more 
could you ask for? 

There was a time when Jack Dempsey 
was the champion boxer of the Ozarks and 
part of Hollywood, and they put him in pic- 
tures (once). 

Jack Pearl is undoubtedly a fine gentle- 
man. We don't know, but as a liar Baron 
Munchausen almost took the belt away from 
Nicky Goldheimer of Minneapolis. They put 
Jack in pictures (once). 

As a crooner of love songs on the radio 
Rudy Vallee crushes the hearts and ambi- 
tions of thousands of young and giddy girls. 
They put him in "The Scandals." 

Jimmy Durante might have been raised 
and educated on the "east side, west side, all 
around the town" ; we don't know ; it might 
have been the Bowery. Anyhow, if the 
critics for the various fan magazines have 
some stars that are not working they might 
use some of them to decorate their reports 
on this one. 

Sooner Catch One Trout 

As we said before if your customers like 
musicals with plenty of dancing girls, we 
think they will like "The Scandals," but 
when it comes to fishing we'd sooner catch 
one trout than a dozen carp, and "David 
Harum" is the trout, but maybe that's be- 
cause there were no crooners in it and Will 
Rogers is a favorite of ours. 


A few days ago we called on A. F. Jen- 
kins of David City, Neb., and we found him 

in bed at about 4 P. M. and when you find 
a Jenkins in bed at 4 P. M. you may know 
that he has had something stronger than 
3.2. Well, A. F. had something stronger 
than 3.2. He had had a cleaver used on him 
twice by a big, stout surgeon who was able 
to kill an ox, but he couldn't kill A. F. Not- 
withstanding he cut some holes in him like 
he was chopping out a skunk from a hollow 
tree. A. F. says that if the doctors don't 
need any more money he thinks he will get 
well. Mrs. Jenkins runs the theatre while 
A. F. is convalescing and cussing. Both of 
'em are doing a good job of it. We hope 
they both succeed. 


We just got a nice, long letter from Jean- 
nette Meehan, but maybe you don't know 
who Jeannette is. Jeannette, with the as- 
sistance of Mildred Early, is the girl who 
furnishes a lot of the brains around the 
Herald office in Hollywood, and they've 
got a lot of brains around there. Just be- 
cause we mentioned something about Ger- 
trude in one of our former colyums it blew 
up the whole works out in the Hollywood 
office and Jeannette writes to remind us not 
to allow our shape to go to our head and 
make us think that the girls lay awake nights 
to dream about us, for she compares our 
shape to that of a bullfrog. If Jeannette 
wasn't a grand-daughter of Jean Stratton 
Porter she might be a grand-daughter of 
Roosevelt, who knows ? Darned if she isn't 
nice enough to be grand-daughter of any- 
body, even our own. 


Choice of Two Rivers 

Billy Youngclaus has sold his theatre 
in Madison to John Neffsinger and he is 
now the owner and operator of the Swan 
theatre in Columbus. Columbus is a good 
town (and so is Billy) and if he doesn't 
make the show business pay there the rest 
of them better stay out. Columbus has 
about nine thousand able-bodied citizens and 
they are so situated that they can go fishing 
either in the Platte or Loupe rivers, as they 
like, but they better fish in the Loupe, for 
the Platte was drier than a congressman 
when we crossed it. They had taken the 
water all out for irrigation. 

We had a fine visit with Mr. and Mrs. 
Neffsinger at Madison. We met Mr. Neff- 
singer in a town in Iowa last season and 
sold him the Herald. He and his wife scrap 
for it every time the postman brings it. 
That's the objection of having such a good 
magazine. It has separated some mighty 
good families on that account. 


Mr. and Mrs. Cool still operate the the- 
atre at Seward. When we called on them 
recently Mr. Cool was down on the bank 
of the Blue River finishing up a cabin they 
expect to occupy the balance of the summer. 
Mr. Cool wants us to come down there and 
show him how to catch catfish. It must be 
that the boys think we are posted along that 
line. The crops around Seward are much 
like they are over the balance of the state. 
The small grain is practically gone and the 
pastures look like they do in January. The 
corn looks good except that the stand is 

poor in many cases on account of the dry 
weather and much of it didn't sprout, but 
since the Government is paying the farmers 
to let portions of their land lie idle, what's 
the difference? 


Cosmetics Plus Films 

Ole Bennett has a beauty parlor in con- 
nection with his theatre at Auburn. We 
doubt if Ole frizzes the hair or spreads on 
the cosmetics (or other injurious sub- 
stances), but he wants 'em to look pretty 
so that if they don't like the picture they 
can look at one another, and this will pass 
away the evening. 

Bob Booth has the other theatre in Au- 
burn and he and Ole get along fine, and 
that's the way for them to get along. Bob 
knows how to drive a ball off the tee as well 
as how to run a theatre, and they both dove- 
tail together, which makes a good combina- 
tion. You can put Auburn on the map as 
having two good theatremen. 


We had a good visit with Mr. and Mrs. 
John J. Metzger, who operate the theatre 
at Syracuse. J. J. is always doing some- 
thing around his theatre to make it more 
attractive every time we call. When we 
called this time he was at the theatre doing 
something and he had worked up a sweat, so 
we took him over where there was a Neon 
sign which read "3.2" and we cooled him 
off. After that he took us up to his house 
where we met Mrs. Metzger and where we 
had a fine visit, as we always do when we 
go there. 

Roy Small operates the theatre at Wy- 
more, and Wymore is a good town or else 
Roy wouldn't be there. They have to be 
good if Roy stays in 'em, and the theatre 
has to be a good one if Roy has anything 
to do with it, and that being the case Ernie 
thinks it is about time we brought this to 
a close, and Ernie knows. 

The herald's Vagabond Colyumnist 

Ross Federal Service 
Transfers Two Managers 

W. O. Redden, Des Moines manager of 
the Ross Federal Service, Inc., has been 
transferred to the Albany office, and Harry 
Schriffin has moved from the Albany of- 
fice to Des Moines. The transfers were 
made by Harry A. Ross, president. Mr. 
Ross has been conferring with officials of 
the Ford exposition at the World's Fair, 
Chicago, for whom he has been engaged 
in traffic checks. 

Sax Challenges Any 
Dancers to Outdo His 

Sam Sax, in charge of production at the 
Vitaphone short subject studio in Brooklyn, 
N. Y., has issued a challenge to all motion 
picture producers and dance directors to 
present a group of dancers who will out- 
dance his corps of 16 stock dancers at the 
studio, used in musical numbers, and in 
whom he seems to have considerable con- 



tional coast -to -coast radio 
hooic-up said: "'ARE WE 

"If I were President of these 
United States I would en- 
deavor to have a law passed 
compelling every man, wo- 
man and child to see 'ARE 

— Ed Wynn 

' I congratulate you and re- 
as one of the most outstand- 
ing pictures I have ever seen." 
— i. F. T. O'Connor, Control- 
ler U. S. Currency. 

over national radio hook-up 
said: "I watched my old friend 
William Farnum enact the 
greatest characterization of 
his entire career ... I hope 
you will see this picture for 

"i saw, and I hope many of 
you will see, the movie en- 
— excerpt from sermon in St. 
Bartholomew's Church, New 
York by Rev. Geo. Paul T. 
Sargent, D. D. 

"May I recommend 'ARE 
WE CIVILIZED' to every 
father, mother, yes, to every 
teacher and to every pupil of 
our vast school system."— 
Maxwell Ross, Chairman, 
Allied Local School Boards, 
Brooklyn, N. Y. 

"Has great mass appeal . . . 
fine direction . . . the film is 
going to be eaten up in the 
small towns."— Chicle Lewis, 
Showmen's Round Table. 

"Timely appeal to reason . . . 
it is skillfully made, power- 
fully acted by William Far- 
num and it features some 
stunning, spectacular scenes 
— New York Mirror 

RASPIN PRODUCTIONS, inc., rko building, new york, n. y. 

June 30, 1934 





ABOVE THE CLOUDS: Robert Aimstrong— This 
is a good Saturday bill, plenty of action and thrills. 
Business off a little due to hot weather and local 
competition. Played June 1-2. — Roy W. Adams, Ma- 
son Theatre, Mason, Mich. Small town patronage. 

FIGHTING CODE, THE: Buck Jones— Average 
western that seemed to please the action fans. Run- 
n-ng time, 64 minutes. Played June 6. — B. Hollen- 
beck. Rose Theatre,, Wash. Small town 

FIGHTING RANGER. THE: Buck Jones— One of 
Buck's best western pictures. Plenty of action and 
western thrills. Buck Jones is always a good draw 
out here. Running time, 60 minutes. — L. D. Brown, 
Queen Theatre, Brownwood, Te.x. General patronage. 

HELL CAT, THE: Robert Armstrong, Ann Soth- 
ern — No objectionable features, plenty of action. Good 
program picture for one day. Played June 5-6. — D. 
E. Fitton, Lyric Theatre, Harrison, Ark. Small 
town patronage. 

HELLO TROUBLE: Buck Jones— Very good west- 
ern. Lots of action. Made more money than most 
of the big specials. Running time, 63 minutes. 
Played June 5-6. — H. Newman, Liberty Theatre, Lyn- 
den. Wash. Small town patronage. 

MAN'S CASTLE. A: Spencer Tracy, Loretta 
Young — This might have been a swell picture, but 
they spoiled it by injecting a lot of unnecessary 
rough stuff. Very poor business on this. Played 
May 29-30. — Roy W. Adams, Mason Theatre, Mason, 
Mich. Small town patronage. 

ONCE TO' EVERY WOMAN: Fay Wray, Ralph 
Bellamy — An excellent picture well produced with 
a splendid cast of well known featured players with 
excellent direction and an unusual and interesting 
story, all taking place in a hospital. Columbia 
should be proud of this one. Played June 5-6. — J. C. 
Darst, Dante Theatre. Dante, Va. General patronage. 

RUSTY RIDES ALONE: Tim McCoy, Barbara 
Weeks — Waited a long time to play this one and got 
stung. Recording poor and Tim can't talk. Poses 
too much. Getting too old to always get the young 
girls. Pass it up, unless you just have to have a 
western, as I did. — G. Carey, Strand Theatre, Paris, 
Ark. Family patronage. 

SONG YOU GAVE ME, THE: Bebe Daniels, Vic- 
tor Varconi — An English made picture. The worst 
Columbia has done since "The Dreyfus Case." Bebe 
Daniels is all right but she can't do it all with the 
role she has. Anyway, patrons did not like it. Some 
walked out on it. Running time, 64 minutes. — L. D. 
Brown, Queen Theatre, Brownwood, Texas. General 

SPEED WINGS: Tim McCoy, Evalyn Knapp— 
Good picture for Friday and Saturday. Plenty of 
action. Running time, 62 minutes. — P. G. Held, New 
Strand Theatre. Griswold, Iowa. General patronage. 

TWENTIETH CENTURY: John Barrymore, Car- 
ole Lombard--A few more nitwit reviews from "Lib- 
erty" like this one and we will all be broke. How 
they gave this four stars, I will wonder until I die. 
If you haven't dated this, don't do it. Go some- 
where and see it and then let them sue you, take 
your theatre, or anything they want to do, but don't 
play "20th Century." We never would have known 
what the story was had we not read the brief in the 
press book. It had more walkouts than I have ever 
had on a picture since I got into the show business. 
If I read one good report in this column about this 
picture, the writer can be assured that he will hear 
from me. This production is an insult to the Ameri- 
can theatre patron. The acting is good but that is 
all that can be said of it. After reading all the re- 
views on this picture, I have decided that I am 
crazy and shouldn't have commented on this picture. 
Running time, nine reels. Played Tune 15-16.— Charles 
S. Edwards, Queen Theatre, Pilot Point, Texas. 
General patronage. 

VOICE IN THE NIGHT: Tim McCoy, BiUie Sew- 
ard — A good Saturday show, lots of action. Played 
June 9,— D. E. Fitton, Lyric Theatre, Harrison, Ark. 
Small town patronage. 

WHIRLPOOL: Jack Holt, Lila Lee— Very accept- 
able program picture. Holds interest. No objec- 
tionable features. Played June 2. — D. E. Fitton, Ly- 
ric Theatre, Harrison, Ark. Small town patronage. 

IN this, the exhibitors' own de- 
partment, the theatremen of the 
nation serve one another with in- 
formation on the box ofRce per- 
formance of product for their mu- 
tual benefit. It is a service of the 
exhibitor for the exhibitor. Address 
all communications 

^hat the Picture Did for Me 

1790 Broadway. New York 

trons in to see it. it will help your theatre. Joe 
gives his best work so far. Running time, 68 min- 
utes. — Don Kelsey, Lyric Theatre, Blacksburg, Va. 
College and small town patronage. 

CONVENTION CITY: Dick Powell, Joan Blondell 
— Very good. Will please any audience anywhere. 
It did not do any extra business, but those who saw 
it were well pleased. — A. L. Lighter, Orpheum Thea- 
tre, Mellen, Wis. Small town patronaKC. 

FASHIONS OF 1934: William Powell, Bette Davis 
— Very satisfactory picture. Nothing big but never- 
theless good entertainment. Powell's lightning "high 
pressure" action and salesmanship character is very 
interesting throughout and Frank McHugh brings in 
several good laughs too. Business was way below 
average for the title killed it. Personally, I think 
the public are just about fed up on musicals. If 
you get them in to see it, they will go out satisfied, 
but the title will keep the men away. An average 
business is all you can get out of it for it does not 
seem to have that "httle drawing power touch." 
Played June 10-12.— R. H. Ouellette, Dixie Theatre, 
Brookesville, Fla. Small town patronage. 

MASSACRE: Richard Barthelmess— A good picture 
that pleased. It did not do any business for me but 
that was through no fault of the picture. Nothing 
pulls them in these days.— A. L. Lighter, Orpheum 
Theatre, Mellen, Wis. Small town patronage. 

SON OF A SAILOR: Joe E. Brown, Jean Muir 
— A laugh from beginning to end and I think that is 
what everyone is looking for, or the majority at least. 
It certainly is one good picture and seemed to please 
everyone. This with a Warner musical, what else 
could one wish. Played June 8-9. — J. C. Darst, Dante 
Theatre, Dante, Va. General patronage. 

SON OF A SAILOR: Joe E. Brown— This is a 
very amusing and entertaining picture and did a nice 
Saturday business. Played June 8-9. — Roy W. Adams, 
Mason Theatre, Mason, Mich. Small town patronage. 

SON OF A SAILOR: Joe E. Brown— Mighty pleas- 
ing Saturday night picture for us. Running time, 73 
minutes. — ^G. Carey, Strand Theatre, Paris, Ark. 
Family patronage. 

Powell, Ginger Rogers, Pat O'Brien — This nice pic- 
ture will please everyone. We had only fair business. 
Don't know why it did not draw more, as it is one of 
Warner's best. The three leading characters are ex- 
cellent. The rest of the cast are also good. Running 
time, 88 minutes. — Don Kelsey, Lyric Theatre, 
Blacksburg, Va. College and small town patronage. 


First National 

CIRCUS CLOWN. THE: Joe E. Brown— Joe is 
grand in this excellent picture. It will please any- 
where and anyone. Good clean fun that is typical of 
Joe's pictures. Make every effort to get your pa- 

AS HUSBANDS GO: Warnpr Baxter— Too much 
talking about nothing. Baxter tries hard to put it 
over, but nothing to the story. Our few walked and 
squawked. Wish I had refused it. Just the kind 
that drives the men to ball games and the ladies to 
bridge. Running time, 75 minutes. Played June 12- 
13. — G. Carey, Strand Theatre, Paris, Ark. Family 

CALL IT LUCK: Pat Paterson, Charles Starrett— 
A nice picture. Good story. Fine musical sequences. 
Pat Paterson is great. Busness below normal. Played 
June 5-6. — R. E. Wanamaker, Rex Theatre, Ottawa, 
Ohio. General patronage. 

CAROLINA: Janet Gaynor, Lionel Barrymore — 
Here's one sweet picture at the box-office, well re- 
ceived and liked by one and all. Personally don't 
like Gaynor in anything, but old Barrymore is the 
screen's best. The negro, Stepin Fctchit, is very 

good and undoubtedly the laziest one on record. He's 
almost too lazy to talk. Played May 21-22.— W. F. 
(Bill) Roth, Jr., New Palace Theatre, Gallatin, Tenn. 
Small town patronage. 

CAROLINA: Janet Gaynor, Lionel Barrymore — 
Oie sweet picture. Janet Gaynor may be getting 
old to some in this type role, but to our way of 
thinking it's the kind that made her famous and it's 
the kind that will keep her that way. Played June 
10-11. — Henry Sparks, Grand Theatre, Cooper, Texas. 
Small town and rural patronage, 

COMING OUT PARTY: Frances Dee, Gene Ray- 
mond — Ran this on a double bill with "I Believed In 
You" and got by. Personally, I don't think this is 
a very bad picture. It seemed to please. It is by 
no means anything extra but just an everyday pro- 
gram picture. Business below average. Played June 
■]'-14.— R. H. Ouellette, Dixie Theatre, Brookesville, 
Fla. Small town patronage. 

DAVID HARUM: Will Rogers— This one is okay 
from every angle you can figure. Running time, 80 
minutes. Played May 25-26. — Charles S. Edwards, 
Queen Theatre, Pilot Point, Texas. General patron- 

DAVID HARUM: Will Rogers— Positively the most 
pleasing picture since talking pictures came along. 
The best business since hot weather. Now who will 
say clean pictures don't draw ? More like it, Mr. 
Rogers, please. Running time, 80 minutes. Played 
June 3-4. — G. Carey, Strand Theatre, Paris, Ark. 
Family patronage. 

DEVIL TIGER: Kane Richmond— A full length 
traveltalk feature, story only incidental. This sub- 
ject failed to arouse much interest. However, it has 
animals and animal fights never before filmed. Did 
extra advertising with special matinee which was a 
flop. Don't do any out of the ordinary stunts, as 
they won't help. Just play it. Played May 25-26. — 
W. F. (Bill) Roth, Jr., New Palace Theatre, Galla- 
tin, Tenn. Small town patronage. 

EVER SINCE EVE: George O'Brien— A mighty 
pleasing picture. Clean and our patrons said "cute." 
Good any day in our town. Title attracted the 
ladies, George O'Brien the men and boys, who want- 
ed a western. Running time, 72 minutes. Played 
June 5-6. — G. Carey, Strand Theatre, Paris, Ark. 
Family patronage. 

FRONTIER MARSHAL: George O'Brien— An all 
around good show for Saturday. It will satisfy your 
western fans and any others that you can get in to 
see it. Played June 16. — Henry Sparks, Grand Thea- 
tre, Cooper, Texas. Small town and rural patronage. 

Alice Faye — One swell show that failed to make ex- 
penses during good weather and with no opposition. 
Just can't decide why I didn't take care of my over- 
draft on this one. Running time, 90 minutes. Played 
May 27-28.— Charles S. Edwards, Queen Theatre, Pi- 
lot Point, Texas. General patronage. 

HOLD THAT GIRL: James Dunn, Claire Trevor— 
A fair program picture that will get by. A little slow 
and draggy in spots. Played June 8-9. — W. F. (Bill) 
Roth, Jr., New Palace Tlieatre, Gallatin, Tenn. Small 
town patronage. 

I AM SUZANNE!: Lilian Harvey— This is a very 
nicely mounted picture, but the puppet stuff was 
greatly overdone. It became boresome and on this 
account wasn't liked bv my patrons. Played June 4- 
5.— W. F. (Bill) Roth, Jr., New Palace Theatre, Gal- 
latin, Tenn. Small town patronage. 

I BELIEVED IN YOU: John Boles, Rosemary 
Ames — Nothing, Just a great big waste of good film. 
A picture like this is the reason why we should con- 
tinue to run double bills all over the country, for 
it gives us a chance to run this sort of stuff first 
and wind up the show with a second good feature, 
thereby not making the patrons feel as if they want 
their money back. We're taking a beating with Fox 
this year. Played June 13-14. — R. H. Ouellette, Dixie 
Theatre, Brookesville, Fla. Small town patronage. 

JIMMY AND SALLY: James Dunn, Claire Tre- 
vor — Only a fair program picture. Fo.x seems to 
think since their success with "Bad Girl" two or 
three years ago, that every picture of that type 
should be a success, but they are not. Played June 
12-13.— J. C. Darst, Dante Theatre, Dante, Va. Gen- 
eral patronage. 

MAD GAME, THE: Spencer Tracy, Claire Trevor 
— A very good picture with plenty of action. How- 
ever, it was verv difficult to understand. Played 
June 1-2. — J. C. Darst, Dante Theatre, Dante, Va. 
General patronage. 

NOW I'LL TELL: Spencer Tracy, Alice Faye— 

Just a little under average program fare. Good 

acting but a poor story. Business about average. 

Running time. 85 minutes. Played June 1-2. — (Tharles 



June 30, 1934 

S. Edwards, Queen Theatre, Pilot Point, Texas. 
General patronage. 

SMOKY: N'ictor Jovy. Irene Bentley — Very, very 
good for a horse picture, flayed June 2-3. — Harold 
C. AUison, Baldwin Theatre, Baldwin, Mich. Small 
town patronage. 

cy Carroll — Another, old boy, old topper, English. 
I thought the exchange was doing me a favor by 
booking this early, higlit reels ol cheese as far as 
the small town goes. Either see this before you 
book or leave the house dark. Played June 8-9-10. — 
John Cosner, Sun Theatre, Sargent, Nebr. Small 
town patronage. 

STAND UP AND CHEER: Warner Baxter— Not 
a special as Fox claims. Business below average. 
Shirley Temple the hit of the picture. Except for 
her number, the picture is only so-so. — C. M. Hart- 
man, Liberty Theatre, Carnegie, Okla. Small town 

Baxter — Fair program picture that showed a nice 
loss. Would have taken a lot of "Life Buoy" soap 
to cure our "bo" on this one. Running time, 95 
minutes. Played June 8-9. — Charles S. Edwards, 
Queen Theatre. Pilot Point, Texas. General. 


IN THE MONEY: Skeets Gallagher, Lois Wilson 
— A very good program picture. Good story. Fairly 
good stars. Enough action to make it interesting. 
Running time, 65 minutes. — L. D. Brown, Queen 
Theatre, Brownwood, Texas. General patronage. 


CAT AND THE FIDDLE, THE: Jeannette Mac- 
Donald, Ramon Novarro — A nice picture, interesting 
story, beautiful settings and entrancing music, but 
Novarro just seems to be poison to the box-office 
here and MacDonald doesn't mean a thing as far as 
drawing power is concerned. Poorest weekend busi- 
ness since "Laughing Boy." Running time, 88 min- 
utes. Played June 9. — B. Hollenbeck, Rose Theatre, 
Sumas, Wash. Small town patronage. 

Donald, Ramon Novarro — I would not call this a good 
picture to draw in a small town but the cash cus- 
tomers came in. Poor sound on this one. Played 
June 5-6.— Harold C. Allison, Baldwin Theatre, Bald- 
win, Mich. Small town patronage. 

DINNER AT EIGHT: All Star— Well, the great 
event has come and gone, the playing of "Dinner at 
Eight." As a flop it was a proud success. It did 
no business, and worse, did not please the few that 
did come to see it. Pulled it on second day. It's 
just a waste of stars. Harlow and Beery whole 
picture. — A. L. Lighter, Orpheum Theatre Mellen, 
Wis. Small town patronage. 

ESKIMO': Native Cast — Wonderful scenes of the 
Arctic but did not appeal to many. Business fair 
first day, second and third day nothing. — A. L. 
Lighter. Orpheum Theatre, Mellen, Wis. Small town 

GOING HOLLYWOOD: Marion Davies, Bing 
Crosby — Good. Wortli two of your "Dinner at Eight" 
specials. Pleased them all. — A. L. Lighter, Orphe- 
um Theatre, Mellen, Wis. Small town patronage. 

LAZY RIVER: Jean Parker, Robert Young— This 
picture has n.o drawing power due to lack of any 
star names but is a dandy little picture and will 
please those who you can get in. Did fairly good 
here. Played June 13. — B. Hollenbeck, Rose Theatre, 
Sumas, Wash. Small town patronage. 

Myrna Loy, William Powell — This is good for your 
best nights and will please all classes. Outstanding 
performance by the three stars. Played June 10-11. 
— D. E. Fitton, Lyric Theatre, Harrison, Ark. Small 
town patronage. 

Myrna Loy, William Powell — One of the best in a 
long, long time. Eh-ew fairly well. Good story. Is 
everything the name implies. Played June 14-15-16. 
— R. E. Wanamaker, Rex Theatre, Ottawa, Ohio. 
General patronage. 

QUEEN CHRISTINA: Greta Garbo— Some wonder- 
ful acting and handsome costumes, that's all. It's 
another choice bit of mea.t for the League of Decency. 
One of my Catholic patrons rfemarked to my wife, 
"such a loose woman." When will the producers 
wake up? When it's too late? Boys, pass this one 
up. It does not mean a thing at the box-office but 
a headache. — A. L. Lighter, Orpheum Theatre, Mel- 
len, Wis. Small town patronage. 

SADIE McKEE: Joan Crawford — A good Crawford 
picture that pleased. Above average business in spite 
of the heat. — C. M. Hartman, Liberty Theatre, Car- 
negie, Okla. Small town patronage. 

SHOW-OFF. THE: Spencer Tracy. Madge Evans 
— This is fair entertainment of the comedy-drama 
variety. Spencer Tracy as the smart aleck with 
beautiful Madge Evans as his wife put the romantic 
touch into this. This seemed to appeal to the masses 
and my patrons thought it very good. However, it 


Entering the ranks of the reportorial 
corps of the "What the Picture Did 
for Me" department, this week have 
come three new members, represent- 
ing the Midwest and Northwest. 
Their reports appearing in this issue, 
they are: 

John Cosner, Sun Theatre, Sargent, 

H. Newman, Liberty Theatre, Lyn- 
den, Wash. 

R. E. Wanamaker, Rex Theatre, 
Ottawa, Ohio. 

is only a one-day picture and will not stand more 
than that. We ran this one day. Bargain Day, to 
a good business and pleased all. Running time, 80 
minutes. Played June 15. — J. J. Medford, Orpheum 
Theatre, Oxford. N. C. General patronage. 

TARZAN AND HIS MATE: Johnny Weissmuller 
— About the same sort and quality of picture as the 
original "Tarzan of the Apes." The kids think it's 
great. Played here to very good weekend business. 
Running tune. 1U4 minutes. Played June 15. — B. Hol- 
lenbeck. Rose Theatre, Sumas, Wash. Small town 


WEST OF THE DIVIDE: John Wayne— Just the 
kind of a western our Saturday crowd likes. Pos- 
sibly not enough cowboy singing, but he does talk 
plain and doesn't stall around. Running time, 55 
minutes.— G. Carey, Strand Theatre, Paris, Ark. 
Family patronage. 


BOLERO: George Raft, Carole Lombard— I call 
this a good picture and it ought to go big with the 
ladies, but hot weather or something knocked it way 
down here. Played June 3-4. — Roy W. Adams, Ma- 
son Theatre, Mason. Mich. Small town patronage. 

COME ON MARINES: Richard Arlen. Grace 
Bradley, Ida Lupino, Roscoe Karns — A marine come- 
dy that has plenty of action, comedy and spicy dia- 
logue. That fellow Roscoe Karns sure is a pip. 
Played May 18-19.— W. F. (Bill) Roth, Jr., New 
Palace Theatre, Gallatin, Tenn. Small town patron- 

Evelvii Venable — Some will like it, others will not. 
Holds interest, if you like it. Nothing objectionable 
and strictly adult entertainment. By reading synop- 
sis you will probably know whether it will go over 
in your town. It's well acted. Played June 7-8. — 
D. E. Fitton. Lyric Theatre, Harrison, Ark. Small 
town patronage. 

Evelyn Venable — This is a very unusual and differ- 
ent picture from anything ever presented before. It 
deals with that dreaded subject — death. It is not 
gruesome, but a beautiful romantic love story with 
sparkling dialogue. Marcji turns in the best acting 
of his entire career and the rest of the cast are won- 
derful in their roles. We played this only one day to 
a fair business. Running time, 78 minutes. Played 
June 14.— J. J. Medford, Orpheum Theatre, Oxford, 
N. C. General patronage. 

DESIGN FOR LIVING: Miriam Hopkins, Fredric 
March, Gary Cooper — A very high class sophisticated 
comedy that did nice business and pleased the ma- 
jority. A little too much chatter and not enough 
action. Played May 28-29.— W. F. (Bill) Roth, Jr., 
New Palace Theatre, Gallatin, Tenn. Small town 

DOUBLE DOOR: Kent Taylor, Mary Morris- 
Here is another poor picture from Paramount. It 
is of the mystery type and presents a light, romantic 
drama that is free of action and comedy. This is 
just the type of picture that is ruining the theatres 
and here's hoping the producers will soon learn that 
the public does not want them. We played this on 
Saturday to only a fair business. Running time, 75 
minutes. Played Tune 16. — J. J. Medford, Orpheum 
Theatre. Oxford, N. C. General patronage. 

LAST ROUND-UP. THE: Randolph Scott, Bar- 
bara Fritchie — Just the kind of western the fans 
seem to like. Business better than for some weeks. 
Played May 19.— C. W. Mills, Arcade Theatre, So- 
dus, N. Y. Family patronage. 

MELODY IN SPRING: Lanny Ross, Charlie Rug- 
gles — This is a very good little picture. It is a 
comedy with music. Lanny Ross sings a few vocal 

selections and the comedy is furnished by Charlie 
Ruggles. Ross has an excellent voice and was well 
received here. Don't overlook this point in your ad- 
vertising as your patrons have heard Ross over the 
radio many times. This is good entertainment and 
we played it one day to good business. Running 
time. 76 minutes. Played June 6. — J. J. Medford, 
Orpheum Theatre, Oxford, N. C. General patronage. 

MELODY IN SPRING: Lanny Ross, Charles Rug- 
gles, Mary Bolend — Paramount is to be commended 
for giving us this picture. It's clean and Lanny 
Rioss has a wonderful voice and Ruggles and Boland 
deliver their usual performance. The milking in the 
pasture scene is excellent. We consider it excellent 
entertainment, good for your best days. Played .Tune 
3-4. — D. E. Fitton, Lyric Theatre, Harrison, Ark. 
Small town patronage. 


Jack Oakie, Victor McLaglen--A well produced, very 
elaborate musical that did a fair business. There 
are some awfully good tunes in this picture and they 
are presented in extravagant style that is typical of 
Carroll's stage shows, orisson was liked by some. 
Jack Oakie and Victor M'cLaglen pleased with their 
work; they make a good team. This would have 
been beautiful in color. Running time, 88 minutes. 
Played June 5-6. — Don Kelsey. Lyric Theatre, Blacks- 
burg, Va. College and small town patronage. 

PRIVATE SCANDAL: Mary Brian, Phillips 
Holmes — A fair picture that is saved by Ned Sparks. 
Some comedv and some mystery. The usual dumb 
detective puzzling out whether it was suicide or 
murder. Will make a Friday-Saturday picture if 
you ?ret it to them that it is mostly comedy. — A. E. 
Hancock, Columbia Theatre, Columbia City, Ind. 
General patronage. 

SEARCH FOR BEAUTY: Buster Crabbe, Ida Lu- 
pino — Some of my patrons liked this, others said it 
was poor. Running timej 74 minutes. — P. G. Held. 
New Strand Theatre, Griswold, Iowa. General pat- 

SHE MADE HER BED: Sally Filers, Richard Ar- 
len — A fairly well liked program subject. Arlen 
and Filers are always good and Grace Bradley is 
plenty hot as usual. Arlen's baby is the cutest baby 
every seen in the movies, I do believe. Played June 
1-2.— W. F. (Bill) Roth, Jr., New Palace Theatre, 
Gallatin, Tenn. Small town patronage. 

SIX OF A KIND: Charles Ruggles, Mary Boland, 
Burns and Allen, W. C. Fields. Alison Skipworth — 
This did not go over for us. No drawing power to 
any of the stars in this picture. Paramount pictures 
just don't click for us. This lost money. Running 
time, 65 minutes. — P. G. Held, New Strand Theatre, 
Griswold, Iowa. General patronage. 

SIX OF A KIND: Charlie Ruggles, Mary Boland. 
Burns and Allen, W. C. Fields, Alison Skipworth— 
An excellent production. Each actor a "card." Un- 
fortunately, whether the heat or some other reason, 
the attendance was the lowest in months. Played 
June 2.— C. W. Mills, Arcade Theatre, Sodus, N. Y. 
Family patronage. 

SIX OF A KIND: Charles Ruggles, Mary Boland, 
Burns and Allen, W. C. Fields, Alison Skipworth — 
This is a crazy farce comedy. Good entertainment. 
Just got by on Sunday. Played June 10-11. — Roy W. 
Adams, Mason Theatre, Mason, Mich. Small town 

THIRTY DAY PRINCESS: Sylvia Sidney— Nice 
entertainment. Better than expected. Business aver- 
age. — C. M. Hartman, Liberty Theatre, Carnegie, 
Okla. Small town patronage. 

TRUMPET BLOWS, THE: George Raft— I can t 
give this much. Did not please here. — C. M. Hart- 
man, Liberty Theatre, Carnegie. Okla. Small town 

TRUMPET BLOWS, THE: George Raft. Adolphe 
Menjou, Frances Eh-ake — Paramount evidently thinks 
they have another Valentino in this Raft person but 
they have not. This picture is on the order of 
"Blood and Sand" that Valentino made. This star 
does not pull for us and this picture has not helped 
any. They dragged in botherly love and a lot more 
things that were not logical. Not much good in a 
small town. They don't give a hoot to see a bull- 
fight in the small towns and the picture flopped, 
that is what the picture is built around. Something 
missing somewhere, whether it was direction or story, 
I can't say, but they did not like it. — A. E. Han- 
cock, Columbia Theatre, Columbia City, Ind. General 

YOU'RE TEILLING ME: W. C. Fields— This pic- 
ture pleased everyone. Fields is excellent and in this 
he gives one of his best performances. Only fair 
Monday business. Running time, 70 minutes. Played 
June 4. — Don Kelsey, Lyric Theatre, Blacksburg, Va. 
College and small town patronage. 

YOU'RE TELLING, ME: W. C. Fields— A good 
clean show that will keep them in good humor. By 
far Field's best picture. Drew fair business in spite 
of carnival and swimming pool. Played June Il- 
ia.— W. F. (Bill) Roth, Jr., New Palace Theatre. 
Gallatin, Tenn. Small town patronage. 


AFTER TONIGHT: Constance Bennett— This is a 
well made picture with a rather familiar story. Busi- 
ness just so-so. Played May 27-28. — Roy W. Adams, 


"This crook melodrama has been 
produced artistically and it holds 
the interest to the end ... As far 
as direction and acting is con- 
cerned, they entitle it to a release 
through any major company." 


"Smoothly worked out crook story, 
handsomely mounted .... presen- 
ted on a luxurious background oF 
homes, gardens and polo fields 

.... eye appeal is splendid " 


" Fast-moving tale of high-powered 
crooks; ought to please all the 
family. Cast is excellent and per- 
formances by Boyd and Mowbray 
above average. — SHOWMEN'S 

"Here is a crook melo that will 
hold them interested all the way, 
it is exciting, has a fine cast, good 
direction and production." 


"Stood out vividly on account of 
human story, fine cast and excel- 
lent direction."- f/iA10G/?>4PH 


I^V/wV 1934'^1935 SEASON 







M. H. HOFFMAN, PiesidenI 

* Home Office and Srudios, 
Culver City, Cal. 



June 30, 1934 

You will 
want these air con- 
ditioning charts to 
aid you this summer! 



that represent standard practice in 
air conditioning engineering, adapted 
for the first time to motion picture, 
theatre use. Originally published in 
Better Theatres, these charts and 
their explanations are now made 
available to theatre managers and 
technicians in a durable form suited 
to ready reference. Each chart is 
readily accessible by itself, while each 
is accompanied by an explanation 
that also gives practical advice on 
how to attain the best atmospheric 
conditions for any season. These 
chart sheets therefore apply to 
operating routine for any time of 
year, winter or summer. They are 
contained in a single sheet of card- 
weight paper measuring 22 inches 
wide and 17 inches high, so folded 
according to chart divisions that each 
readily fits the pocket. Unfolded, 
the sheet may be tacked on the wall. 
The folders may be had until the 
supply is exhausted at 25 cents each. 
Send payment with order. Use the 
coupon below. 



Enclosed find $ in payment 

for Air Conditioning Charts at 25 
cents each, to be mailed postpaid to 
the following: 



If theatre 

state nam© 

Mason Theatre, Mason, Mich. Small town patron- 

DELUGE, THE: Pesgy Shannon, Lois Wilson- 
Good picture of its kind. Did not draw very good. 
— P. G. Held, New Strand Theatre, Griswold, Iowa. 
General patronage, 

FLYING DOWN TO RIO: Dolores Del Rio, Gene 
Raymond — I signed my name to our ad on this one. 
I have to feel it is good to do that. It helped to 
draw some. Played June 10-11-12. — J. M. Ensor, 
Crescent Theatre, Little Rock, Ark. General patron- 

HIPS, HIPS, HOORAY!: Wheeler and Woolsey— 
The usual Wheeler and Woolsey fare. A lot of 
laughs and the picture is better than their last two 
but they remembered how raw "So This Is Africa" 
was and a lot stayed away on that account, I think. 
Then we have some patrons that do not like them 
and say so, but the picture is good entertainment 
with some few broad wisecracks. If you ask me the 
public wants a little spice in their pictures regardless 
of what the Purity League thinks. The public that 
goes to the movies are the best judges of what they 
want and not the reformers. — A. E. Hancock, Colum- 
bia Theatre, Columbia City, Ind. General patronage. 

LITTLE WOMEN: Katharine Hepburn— It brought 
in a few extra people that very seldom go to the 
movies. Very good picture for the old timers but 
too slow for a steady diet. Rotten sound on this one. 
Did not do as good on this as we expected to. — Harold 
C. Allison, Baldwin Theatre, Baldwin, Mich. Small 
town patronage. 

LONG LOST FATHER: John Barrymore^This is 
a better picture than I expected after reading some 
exhibitors' blue reports on it. It seemed to please 
and did a fair midweek business. Played June 12- 
13. — Roy W. Adams, Mason Theatre, Mason, Mich. 
Small town patronage. 

MORNING GLORY: Katharine Hepburn, Douglas 
Fairbanks, Jr. — A very poor picture to poor business. 
A typical RKO picture that has no drawing power. 
In spite of .ill of the tremendous publicity RKO has 
given Hepburn, she is just another flop in our town. 
RKO cannot very well make an interesting picture, 
but when th.ey star Hepburn in it, then it is doubly 
boresome. 100 per cent talking. We played this 
one two days to poor business and many walkouts. 
Running time, 70 minutes. Played June 11-12. — J. J. 
Medford, Orpheum Theatre. Oxford, N. C. General 

son, Edna May Oliver — Good comedy mystery drama. 
Fine chance for tieups and exploitation. Played June 
17-18.— R. E. Wanamaker. Rex Theatre, Ottawa, Ohio. 
General patronage. 

RIGHT TO ROMANCE, THE: Ann Harding, Nils 
Asther — Fair but did not draw the second night. 
Played June 7-8.— Harold C. Allison, Baldwin Thea- 
tre, Baldwin, Mich. Small town patronage. 

STINGAREE: Irene Dunne, Richard Dix— Fair en- 
tertainment. Business above average. Good opera 
singing by Irene Dunne. Locale in Australia. Played 
June 12-13 — R. E. Wanamaker, Rex Theatre, Ottawa, 
Ohio. General patronage. 

State Rights 

EXYSIA: I played this nudist picture just to try 
to take care of some of my losses on the lemons I 
have been getting. Business was good. I showed 
this one to mixed audience. No one under 16 admit- 
ted. We showed it jusl like it came out of the can 
and I wouldn't be afraid of it. Though it really is in 
the nude, it is a lot cleaner picture than a lot of the 
ones I have been showing. It will get the money 
if you advertise it as hot and that they shouldn't see 
it, etc., but after they have seen it they will tell you 
that it wasn't so hot. However, it is well made and 
the sound is good. If you need some extra change, 
show it on a midnight show and you will get results. 
Running time, five reels. Played May 19.— Charles 
S. Edwards, Queen Theatre, Pilot Point, Texas. Gen- 
eral patronage. 

United Artists 

This excellent picture pleased everyone that saw it. 
It failed to do as well as we expected. Perhaps it 
will not prove to be a small town attraction. After 
seeing it you can readily understand its great popu- 
larity in the large cities. Mr. Arliss is magnificent 
and is wonderfully supported by the rest of the cast. 
This picture will please, but will they come out to 
see it? The color scene is very fine and everyone 
appreciated its beauty. I believe the producers would 
not be disappointed if color was used more frequent- 
ly. Our patrons certainly like color product. Do 
your best to get everyone to see this production. 
Running time, 86 minutes. Played May 30-31. — Don 
Kelsey, Lyric Theatre, Blacksburg, Va. College and 
small town patronage. 


BLACK CAT. THE: Koris Karlofif, Bela Lugosi— 
Here is another disappointment from Universal. It 
is too highly advertised for what it presents and I 
advise you not to do what Universal did. It is sup- 
posed to be a thrill drama, but the thrills are miss- 
ing and there is little action. With Karloflf and Lu- 

gosi a splendid picture could have been made, but 
Universal muffed their chance. Played one day, Sat- 
urday, to only fair business. Running time, 65 min- 
utes. Played June 9. — J. J, Medford, Orpheum Tlie- 
atre, Oxford, N. C, General patronage. 

BY CANDLELIGHT: Elissa Landi, Paul Lukas— 
Lowest gross in six months and more walkouts than 
in 12 months. Notice some have made favorable re- 
ports on this. Can't see where they get it. It's 
silly, Paul Lukas is hard to understand, and as far 
as my situation is concerned, the whole thing was 
a pain in the neck. Played June 14-15. — Henry 
Sparks, Grand Theatre, Cooper, Texas. Small town 
and rural patronage. 

BY CANDLELIGHT: Elissa Landi— Saturday night 
audiences ordinarily do not care for sophisticated 
movies so our attendance was not what a picture of 
this type should command. Most of those who at- 
tended were satisfied, however. Played June 9. — C. 
W. Mills, Arcade Theatre, Sodus, N, Y. Family 

BY CANDLELIGHT: Elissa Landi, Paul Lukas— 
This is a clever and sophisticated comedy drama but 
a European locale and European cast killed it for 
my community. Played June 5-6. — Roy W. Adams, 
Mason Theatre, Mason, Mich. Small town patronage. 

COUNSELLOR- AT- LAW: John Barry more— We 
liked Barrymore better in this one than anything we 
have had him in. Pleased the patrons, also should 
draw good. Running time, 80 minutes, — L. D, Brown, 
Queen Theatre, Brownwood, Texas, General patron- 

COUNSELLOR- AT-LAW: John Barrymore, Bebe 
Daniels — This is only fair entertainment. It is an- 
other special that broke all house records for poor 
business. As a rule the producers call their best pic- 
tures specials, but if this one is a sample of Univer- 
sal's best, then we don't want any more. The entire 
picture was taken in one office and the recording was 
terrible. We had to play it two days and then didn't 
take in film rental. Running time, 78 minutes. 
Played June 7-8.— J. J. Medford, Orpheum Theatre, 
Oxford, N. C. General patronage. 

Paul Lukas — Very pleasing audience picture. Clean, 
light and much better than expected by title. Run- 
ning time, 78 minutes. Played June 10-11. — G. Carey, 
Strand Theatre, Paris, Ark. Family patronage, 

I'LL TELL THE WORLD: Lee Tracy, Gloria 
Stuart — When Tracy tells the world, it is all Tracy 
and no mistake. Every picture that we have played 
of this star there might as well be no others in the 
cast. He is the whole show and while he is good, 
you can get too much of a good thing. Every shot is 
built around him and while he carries his role all 
right, it would be well if the pictures were not sub- 
ordinated to him. — A. E. Hancock, Columbia Theatre, 
Columbia City, Ind. General patronage. 

ONLY YESTERDAY: John Boles— Just as good if 
not better than "Back Street" and "Seed." Will 
please the audience, especially the ladies. Would 
be all right if we could get them all like this one. 
Running time, 102 minutes. — L. D. Brown Queen 
Theatre, Brownwood, Texas. General patronage. 

WHEELS OF DESTINY: Ken Maynard— Ken 
Maynard fails to satisfy as he used to. Business not 
too good, either. Played May 27. — C. W. Mills, Ar- 
cade Theatre, Sodus, N. Y. Family patronage. 


AS THE EARTH TURNS: Jean Muir— After seeing 
a screening of this picture we played it on our regu- 
lar Family Days and made an especial appeal to our 
rural patrons to come and see it and how they did 
turn out. Believe me, it was a pleasure to listen to 
the favorable comments as they left the theatre. 




June 30, 1934 



Played June 12-13.— Henry Sparks, Grand Theatre, 
Cooper, Texas. Small town and rural patronage. 

HAROLD TEEN: Hal LeRoy, Rochelle Hudson- 
Here is a great little picture that is fast moving and 
full of pep. It is a comedy that will please both 
young and old. It is a story of youth, filled with ro- 
mance, comedy thrills and a slight musical touch. 
LeRoy's dance is the best scene in the show and 
that alone is worth the price of the picture. After 
seeing it you will agree that he is the world's best. 
Business above average. Running time, 66 minutes. 
Played June 13. — J. J. Medford, Orpheum Theatre, 
Oxford, N. C. General patronage. 

World Wide - Fox 

TOMBSTONE CANYON: Ken Maynard— A good 
story and enough action to make it as good as the 
average western. Running time, 58 minutes. — L. D. 
Brown, Queen Theatre, Brownwood, Texas. General 

Short Features 

BILL POSTER, THE: Krazy Kat Kartoons— Pret- 
ty good cartoon comedy. Running time, seven min- 
utes. — P. G. Held, New Strand Theatre, Griswold, 
Iowa. General patronage. 


PAPA'S BOY: Lloyd Hamilton— The best one from 
Educational. The two papas steal it from Hamilton. 
Story, slapstick comedy. — John Cosner, Sun Theatre, 
Sargent, Nebr. 

RIP VAN WINKLE: Terry-Toons— One of the 
best of this series. Some good music and singing. — 
D. E. Fitton, Lyric Theatre, Harrison, Ark. Small 
town patronage. 


FLYING HUNTERS: Oddities— Very interesting 
short that was appreciated here. Most of this series 
have been good. Running time, one reel. — Don Kel- 
sey, Lyric Theatre. Blacksburg. Va. College and 
small town patronage. 

I'LL TAKE VANILLA: Charley Chase— I guess 
this will get by. Nothing extra. Running time, two 
reels. — D. E. Fitton, Lyric Theatre, Harrison, Ark. 
Small town patronage. 

LUNCHEON AT TWELVE: Charley Chase^An- 
othtr good slapstick comedy from Chase. Will keep 
them laughing and should please all customers. 
Chase, as an interior decorator, is very funny and 
turns in one of the best comedies in quite a while. 
Come on, Charley, let's have more. Running time, 
20 minutes. — J. J. Medford, Orpheum Theatre, Oxford, 
N. C. General patronage. 


Here is one of the best cartoons Paramount has 
made this season. It presents Betty at her best in 
a review of some of her old shorts. Good entertain- 
ment and will please both young and old. Let's have 
more like this one. Running time, eight minutes. — 
J. J. Medford, Orpheum Theatre, Oxford N. C. Gen- 
eral patronage. 

HOLLYWOOD ON PARADE: This is just another 
waste of time and money. A one reeler showing a 
few scenes of some of the stars in Hollywood at 
work and play. Only fair entertainment and as a 
rule will not please. Running time, 10 minutes. — 
J. J. Medford, Orpheum Theatre, Oxford, N. C. Gen- 
eral patronage. 

SEASIN'S GREETINKS: Popeye the Sailor— Pop- 
eye always good. Running time, seven minutes.— 
P. G. Held, New Strand Theatre. Griswold, Iowa. 
General patronage. 


LION TAMER. THE: Amos 'n Andy— Good for a 
change, little disappointed. Probably expected too 
much.— D. E. Fitton, Lyric Theatre, Harrison, Ark. 
Small town patronage. 


WHERE'S ELMER?: Vince Barnett— This is a 
dizzy dish of tripe without a laugh in it. Running 
time, two reels.— Roy W. Adams, Mason Theatre, 
Mason, Mich. Small town patronage. 

Warner Vitaphone 

—Here is a very good cartoon comedy that is inter- 

esting and also full of laughs. It is good entertain- 
ment for both young and old and will please them 
all. Whoi you want good shorts, just book them 
from Vitaphone and rest assured of the best. Run- 
ning time, eight minutes. — J. J. Medford, Orpheum 
Theatre, Oxford, N. C. General patronage. 

PETTIN' IN THE PARK: Merrie Melodies— A 
very good musical cartoon comedy of the popular 
song hit. This is good entertainment and pleased our 
entire audience. These one reelers are great and 
there have not been any bad ones yet. Personally 
I think these are as good as any on the market. 
Running time, eight minutes. — J. J. Medford, Orphe- 
um Theatre, Oxford, N. C. General patronage. 

PIE A LA MODE: Broadway Brevities— Fair. 
These Brevities are not near as good as they used to 
be. It looks as if Vitaphone is slipping. Not worth 
the money ihey cost. Running time, 19 minutes. — 
P. G. Held, New Strand Theatre, Griswold, Iowa. 
General patronage. 

PUGS AND KISSES: Charles Judels— This is a 
good comedy of the slapstick variety but will not 
please as well as most of the others because Judels 
is not well known or very popular. He is very good 
and was well liked. Running time, 21 minutes. — J. J. 
Medford, Orpheum Theatre, Oxford, N. C. General 

STORY CONFERENCE: Lillian Roth— Another 
good one from Warner. Running time, two reels. — 
Henry Sparks, Grand Theatre, Cooper, Texas. Small 
town and rural patronage. 

STRANGE CEREMONIES: Musical World Jour- 
neys — Poor. These reels just don't go over. Riun- 
uing time, nine reels. — P. G. Held, New Strand The- 
atre. Griswold, Iowa. General patronage. 


MYSTERY SQUADRON: Bob Steele— On the sixth 
chapter this is holding up fairly well. So far there 
hasn't been so much repetition as some of their 
serials have had. — Roy W. Adams, Mason Theatre, 
Mason, Mich. Small town patronage. 


PIRATE TREJVSURE: Richard Talmadge, Lucille 
Lund — This held up fairly well throughout. It would 
have been better if they had let Dick Talmadge do 
more acrobatic stunts. A little rough and tumble 
fighting is all right but twelve episodes of it grows 
monotonous. — Roy W. Adams, Mason Theatre, Mason, 
Mich. Small town patronage. 





Eliminate the guess work in the 
handling of films and avoid 
the possibility of time-wasting 
troubles on lost and delayed 
shipments. Specify Railway Ex- 
press for all releases and then 
you wDl be sure that they will 
be delivered safely and quickly 
to theatres • Railway Express 
insures maximum safety and ut- 
most speed and many features 
not to be found in any other 
method of shipping. Railway 
Express moves at passenger 
train speed and maintains pick- 
up and delivery service in all 
principal cities and towns with- 
out extra charge. We give a 
receipt to the shipper and take 
one from the consignee — double 
protection and proof of safe 
collection and delivery • Tele- 
phone the local Railway Express 
agent for service or information. 

The best there is in transportation 




^^Wt toAit ftum oKfL own 
to AOmt Aumamtu^ 'f 



is launching it's Tirst membership appeal in its 10 years of unselfish 
service • Every man and -woman of Jewish faith, connected with 
the theatrical profession or any other business, should 



Mail both 

t^pplicatior2-> Blanl^^ 




I hereby apply for membership in the Theatrical Guild here is my ten dollars 

7>lame — 


/ewish Theatrical ^uild of c^merica. Inc^ 

DAVE FERGUSON. Exec. Sec y. 

DUES: $10.00 cnnuaJly— 

Life membership S250.00 

Make all checks payable to the Jewish Theatrical Guild of America, t 

Membership Drive 

Eddie Cantor President 

George Jessel . 1st Vice-President 
Julius Tannen . . . Vice-President 
Sam H. Harris . . . Vice-President 
Wm. Morris, Jr. . . Vice-President 

Chairlady Women's Division 


Wm. Degf-n Weinberger. 

Chairman Board of Trustees 
Dr. Hugo RiESENFELD . Treasurer 

Mrs. wm. MORRIS 
Honorary Chairlady 

Fred Block 

Financial Secretary 

Harry Cooper, 

Corresponding Secretary 

Dave Ferguson, 

Executive Secretary 
Dr. Leo Michel Relief 

We co-operate with the activities of The Actors Fund of America; 
National Variety^ Artists; Catholic Actors Guild; and Episcopal Actors Guild. 

June 30, 1934 




//«t;// MOTfON 
(Oi! H E RALD 

i^^tT*^^ ... 


(lAn international association of showmen meeting weekly 
in MOTION PICTURE HERALD for mutual aid and progress 



On the editorial page, issue of June 24, 1933, your Chair- 
man in introducing himself to the membership, set forth his 
sentiments under the heading, "Still Your Business" regarding 
the manager's vital importance to the industry. 

From these first words, we take the liberty of repeating the 
following paragraph: 

"Studio executives, stars, directors, cameramen, division man- 
agers, home office advertising managers, branch sales managers, 
film salesmen, operators, ushers, cashiers, porters, doormen — they 
all tvait on you. For your OK and yours only starts that precious 
stream of dimes and quarters into your box office that makes it 
possible for the industry to survive." 

A year of tremendous change has since passed. The theatre 
map has been formed and reformed. New leaders have been 
appointed, new systems inaugurated. And in the face of all 
obstacles, the manager has marched ahead, chin up, doing a 
day's job and doing it well. 

hie has proven that what we emphasized twelve months ago 
is doubly true today. Yes, gentlemen — "in spite of hell and 
high water, this still Is your business." 

V V V 

Montreal still echoes to the praises of the Quigley Award 
v/inners for May and the presentation ceremonies in which 
over 250 representative Canadians, led by Mayor Houde, 
participated in honor of Gene Curtis and Ken Finlay. 

According to Mr. Duncan Maclnness, special correspon- 
dent, the occasion established a number of "firsts" in Canadian 
theatre history — for instance: 

The first time any Montreal Mayor has appeared in person 
at a theatrical gathering; first time the ultra conservative Mon- 
treal "Gazette" has ever run pictures pertaining to theatres 
in any way; first time theaire managers have ever had pictures 
and story on front page; first time theatre managers were 
given testimonial luncheon and such an ovation. 

Further, In presenting the plaques. His Honor said: 

"The motion picture business in Montreal has needed an 
incentive. I know that the winning of this splendid plaque 
will arouse more competition, and probably out of the fight 
which will ensue, the plaque should come to Montreal again." 

That the Quigley competition has been the means of evok- 
ing such high regard for the abilities of these Canadian the- 
atremen should be a source of great satisfaction to all show- 
men, irrespective of where they may happen to be located. 

And that Mayor Houde credits the Awards with being the 
Incentive to better business Is not only a compliment to the 
Quigley project, but also to the managers all over the world 
who have made its success possible. 

V V V 

If the depression has done nothing else to help the theatre. 
It has brought about a welcome change In the attitude of 
previously tough-to-crack newspapers toward picture tieups. 
With the drastic cutting down of general advertising, pub- 
lishers heretofore content with boom time profits have begun 
to look with favor upon the dollars and cents value of co- 
operation with local houses. Thus, In Increasing numbers, mem- 
bers are reporting "first time" tieups with their papers, and 
page one breaks to plug the hookups are far from infrequent. 

The turning of many newspapers to the theatre during the 
lean years for further means of stimulating sales proves again: 

'Tis an III wind that blows no one good." 

V V V 

The scene was the ticket booth of a Broadway first run — 
time about noon. Half turned from the window was the cashier 
bent over a magazine In which she was engrossed to the ex- 
clusion of the few seeking admission. Called back to life by 
one of the customers, the gal poked the ticket machine, made 
change, and Immediately returned to the spell of her story. 

The barker out front kept calling — "there are seats on all 
floors. A new and complete show Is now about to begin." 

V V V 


The number of managers this year receiving vacations with 
pay shows a definite Increase over the summer of 1933, judg- 
ing by the numerous visits we have already enjoyed at Club 
headquarters this month with out-of-town members. 

There are many exhibitors who are shrewd enough to grant 
yearly vacations with pay in good times or bad, but no doubt 
the general loosening this season of exhibitor purse strings 
denotes a definite improvement in current grosses. 

Should this state of affairs continue, we may begin to look 
forward to Increases In theatre salaries and perhaps even a 
day off for managers not now so singularly blessed. 



June 30, 1934 


Novel Trailer Gag 
Plugs *Monica Date 

Starting the campaign oil some five weeks 
ahead, with the hanging of two huge ban- 
ners from the roof of the Strand Theatre 
building, as illustrated previously in these 
pages, the Warner Metropolitan Theatres' 
exploitation crew rounded up a raft of sell- 
ing slants to publicize the opening of "Dr. 

Barricades were built up for the fronts 
of the Warner and Hollywood Theatres 
carrying photo enlargements of Kay Fran- 
cis, and an overhead arch was installed in 
the Strand lobby, color scheme, being dark 
blue ; background was lemon yellow and 
white characters, all enlargements being in 
full color. The flash was moved out front 
after the opening. 

Unique was the first advance trailer, also 
used five weeks ahead. This consisted of a 
series of single frames reading, "Is Dr. 
Monica in the house?" "Dr. Monica is 
wanted on the telephone" and "Will Dr. 
Monica please call at the manager's office?" 
As was to be expected, the stunt created a 
lot of favorable buzzing. 

Special heralds adapted from the cover 
design of the press book were placed in key 
boxes of many hotels, these serving both as 
throwaways and programs. Special letters 
were sent to the first night lists of the The- 
atre Guild, copy calling attention to the fact 
that the picture had been from an outstand- 
ing foreign play. 

A chain shoe store hookup netted 600 line 

ads in local and surrounding newspapers. 
Beauty shop tieups brought further news- 
paper display, and two line front page lead- 
ers were also planted. Advertising napkins 
placed in cafeterias and lunch stands in the 
midtown area also called attention to the 

Work tor a Quigley Award! 


The $2 5 0 in cash prizes announced 
by Warner Brothers in last week's is- 
sue, for the best all-around promotion 
campaigns on "The Circus Clown" 
starring Joe E. Brown, should stir up 
a lot of excitement among showmen 
playing the picture. The Warnerites 
invite all the "modern Barnutns"— 
theatre owners or managers to com- 
pete for these attractive awards, dis- 
tributed as follows: 

First prize, $100; second, $50; 
third, $2 5; fourth to seventh, $10 
each; eighth to fourteenth, $5 each. 
In case of ties, duplicate awards will 
be given. Contest has already begun 
and clones at midnight, Saturday, Sept. 
1. Visual evidence of everything used 
must accompany each entry. 

This seems to be a great spot for 
Round T abler s to go "circus," and we 
look forward to a flock of prize win- 
ning entries from the members. 

Agnew 'Week'' Put 
On by John Friedl 

A nice gesture on the part of the Minne- 
sota Amusement Co., toward Neil Agnew, 
recently appointed general sales manager 
of Paramount Pictures, is a "Paramount 
Appreciation Week" to take place early in 
July, in honor of that executive. The idea 
was conceived by general division director 
John J. Friedl and worked out by circuit 
ad chief Charlie Winchell and his staff. 

Charlie has created a very complete 
manual that covers every possible angle of 
advertising and exploitation. Copies have 
been forwarded to every manager in the 
circuit and include much meat, such as 
broadcasts in advance by Messrs. Friedl and 
Ludwig, advance trailers, special lobby an- 
nouncements, underlines in newspaper ads 
and arrangements for local publicity. 

Winchell worked out a nice idea in a spe- 
cial scroll which was sent to Hollywood and 
signed by all Paramount stars. On its re- 
turn, photostatic copies were made up in 
which names of local publishers in circuit 
towns were inserted and mailed to each 
paper. Mats on same were also forwarded 
to the papers and were used as opening 
break in campaign. 

Another neat newspaper stunt was a com- 
posite picture of local mayor or other lead- 
ing citizen posing with one of the Para- 
mount stars. This was done by manager 
taking full length photo of local celebrity in 
each circuit spot and forwarding same to 
Charlie who worked out the rest of the gag 
and returned the completed picture for local 

Other smart stunts included selling star 
stills to merchants as giveaways during 
week, local "Appreciation Parties" given by 
merchants for their employees, carrying of 
theatre slugs in store ads and gala Holly- 
wood openings on the first night of the 

Work For a Qiiigley Award! 

Schwahn Invites Students 

To the students at a nearby university. 
Manager Stan Schwahn, Pattee Theatre, 
Lawrence, Kan., distributed special invita- 
tion cards well ahead of his "Hollywood 
Party" date. Borden's and Coca Cola were 
tied in for banners on delivery trucks and 
displays in drug and grocery stores, and 
leading women's store went for hookin on 
Lupe Velez spring fashions. 

Work For a Qiiigley Award! 

Mayer Ties In Restaurant 
On "Hollywood" Opening 

The occasion of a new food-and-drinkery 
opening across 'the street from Arthur 
Mayer's New York Rialto, was hooked in 
effectively to the premiere of "Hollywood 
Party," where Billy Ferguson's staff co- 
operated to spread the word. The restaurant, 
occupying a prominent Times Square cor- 
ner, was decorated for the premiere, the cele- 
bration being publicized further with giant 
flood and search lights playing on the the- 
atre building and cafe front. 

Added cooperation was obtained with a 
four-page tabloid, space divided between the 
picture and restaurant copy, copies of which 
were distributed around town. A sound truck 
enclosed in glass was another stopper, a 
balloon giveaway gathering the crowds. 

June 30, 1934 




Cheer Quigley Plaque Winners 
at Montreal Ad Club Meet- 
ing; Mayor Does Honors as 
Proceedings Are Broadcast 

By D. MaclNNES 

Special Correspondent 

[Photo in Pictorial Section] 

At Montreal, on June 20, Canadians and 
the whole world expressed their appreciation 
of the Quigley Awards with a rousing ova- 
tion for Gene Curtis, manager, and Ken Fin- 
lay, advertising manager. Palace Theatre, 
Montreal, Award winners for May. More 
than 250 theatre managers, distributors, 
prominent advertising and publicity men and 
representatives of foreign consulates gath- 
ered in the Mount Royal Hotel for the 
presentation of the Award by Mayor Camil- 
lien Houde of Montreal. 

The entire proceedings were broadcast 
over a network of radio stations, which were 
fed by Station CKAC, the powerful station 
operated by Montreal's leading newspaper, 
La Presse. Phil Lalonde, station director 
of CKAC, was personally in charge of the 
broadcast. Newsreel men and photographers 
from the Associated Screen News were on 
hand to get a permanent record of the his- 
toric event of the first Quigley Award to 
come to Canada. Hundreds of telegrams 
from all over the world were received dur- 
ing the meeting, many of which were read 
over the air during the hour and a half 

Colonel Cooper Praises Martin Quigley 

The presentation was presided over by 
W. J. C. Sutton, president of the Advertis- 
ing Club of Montreal, who introduced Colo- 
nel John Cooper, the "Will Hays" of Can- 
ada, and head of the Motion Picture Distrib- 
utors and Exhibitors of Canada, who came 
down from Toronto especially for the pres- 
entation. Colonel Cooper expressed his ap- 
preciation of being able to come to Montreal 
for such an important event and commented 
on the value of the Award. 

He said that he admired the determination 
of Gene and Ken, who had put forth such 
splendid effort during the year so as to be 
the only theatre in the world to win a Quig- 
ley Mention every month since the first of 
the year and then to win the coveted plaque. 

"Mr. Quigley, as you know, is a great 
publisher," he continued. "He is enterpris- 
ing, influential and conscientious. He saw 
that publicity is one of the greatest forces 
in the motion picture business, and set out to 
increase the interest of theatremen in better 
advertising and publicity. The award of the 
silver plaque for the most outstanding pro- 
motion campaign is an indication of that 
keen interest." 

Colonel Cooper then introduced Mayor 
Houde, who expressed in his usual dynamic 
manner his appreciation not only on the 
score that the Award had come to two Mon- 
treal men, but also because their success had 
brought honor to the city itself. He stated 


The following industry leaders have 
consented to determine the winner of 
the Quigley Award for June: 

Manager of Distribution, Universal 
President, Fox West Coast Theatres; 
of Theatre Advertising and Publicity, 
Warner Bros. Theatres. These gentle- 
men represent, respectively, the distri- 
bution, exhibition and advertising 

The deadline for June entries has 
been set for THURSDAY, midnight, 
JULY 5. All campaigns must be re- 
ceived at Quigley Committee Head- 
quarters, 1790 Broadway, New York 
City, by that time in order to receive 

Read the rules, printed again in 
last week's issue, and send in that 
good campaign right now. 

that it was always a pleasure to recognize 
signal accomplishments. 

"Then again," he continued, "the motion 
picture business in Montreal has needed an 
incentive. I know that the winning of this 
splendid plaque will arouse more competi- 
tion, and probably out of the fight which wfll 
ensue, the plaque should soon come to Mon- 
treal again." 

His Honor congratulated Gene and Ken 
personally for their success, and thanked 
them in the name of the city for having 
brought the Award to Montreal. 

In accepting the plaque, Gene expressed 
his keen appreciation of the honor which 
has been bestowed on him and his able co- 
worker, stating that they would try to con- 
tinue to justify the distinction given to their 
theatre through the Quigley Award. 

Ken Finlay also made a nice acceptance 
speech in which he said he particularly 
wished to express his appreciation to Gene 
for having shared all credits throughout the 
Quigley contest. "It is a pleasure to do your 
best when your work is so publicly acknowl- 
edged," said Ken. 

All Consulates Represented 

Because of the international aspect of the 
Quigley contest, representatives were pres- 
ent from all nations in the world having con- 
sulates in Montreal. Colonel Hopper, of the 
United States Consulate, was at the guest 
table, and other consuls invited were from 
France, Roumania, Switzerland, Portugal, 
Czechoslovakia, Belgium, Austria, Colombia, 
Finland, Germany, Greece, Hungary, Italy, 
Mexico, Nicaraugua, Norway, Poland, 
Spain. Sweden, The Netherlands, Argen- 
tina, Boliva, Brazil, Monaco, Salvador, Yu- 
goslavia and Venezuela. 

Presentations of personal gifts were also 

Congratulatory Wires Received 
fronn All Quarters; Papers 
Carry Front Page Publicity; 
Event Called Unprecedented 

made to the two men by Warner Brothers, 
whose picture "20 Million Sweethearts" was 
the one on which the Award was granted. 
Gene thanked Mrs. Laura Elston and Charlie 
Osborne, representatives of Warner's, who 
were present. 

Congratulatory telegrams and cables came 
in during the luncheon from all over the 
world with such rapidity that two Canadian 
National Telegraph messengers were kept 
busy delivering them. These were read at 
the meeting and carried to the vast radio 
audience. At the time your correspondent 
had to get this report in the mail, the wires 
were still continuing to pour in. Noticeable 
was the world-wide salute with telegrams 
and cables from all branches of Warner 
Brothers — First National, headed by mes- 
sages from A. W. Smith, Jr., and Charles 
Einfeld. Vitagraph was also represented by 
Harry Paynter, Canadian general sales man- 
ager, and M. Perry of Toronto, Joseph Plot- 
tel of Vancouver, Charles Osborne of Mon- 
treal, Wolfe Cohen of Winnipeg and M. J. 
Isman of St. John. 

One of the first telegrams to arrive was 
that from Martin Quigley, followed by one 
from Tom Connors. 

Industry Heads Wire Winners 

From Paramount were messages from 
Adolph Zukor and George Schaefer, as well 
as general greetings from the Pacific Coast 
Convention and also from Boris Morros at 
the New York Paramount. 

Tribute was paid to these showmen by 
Al Lichtman, Joseph Moskowitz, Harry 
Buckley and Hal Horne of United Artists. 
Speaking for Mickey Mouse, Minnie and all 
their friends, Walt Disney sent special greet- 

John D. Clarke, Charles E. McCarthy and 
Jim O'Loghlin, Canadian sales manager, 
conveyed greetings from Fox Films, and 
Ned E. Depinet, Jjiles Levy and Robert Sisk 
sent congratulations from Radio Pictures. 

Universal Pictures also paid tribute with 
wires from J. R. Grainger, A. J. Sharick, 
F. J. A. McCarthy, Paul Gulick, Canadian 
Universal Film Company and D. Leduc. 

Metro-Goldwyn-Mayer sent greetings 
through H. Cass, Montreal branch man- 
ager, and from Toronto hearty congratula- 
tions were sent from Empire Films. 

Other distributing companies were repre- 
sented by W. Ray Johnston, president of 
Monogram Pictures, and also one of the 
Quigley judges for May. 

From their ow» company. Famous 
Players Canadian Corp., Ltd., Gene and Ken 
received most glowing congratulations and 
praise over the signature of the Executive 
Committee, as well as individual wires from 
J. J. Fitzgibbons, managing director ; R. W. 

(Continued on paye 80, column 3) 



June 30,1934 

Bryant Flies Own Plane 
To Exploit Pictures 

Round Tabler Robert Bryant dropped in- 
to headquarters out of the sky last week on 
an air trip from Rock Hill, S. C, where he 
operates the Capitol Theatre. Bob is his 
own pilot, with hundreds of flying hours to 
his credit, and has taken part in many air 

Besides flying strictly for pleasure, Bryant 
uses his ship to exploit his attractions. Every 
now and then, he flies over the immediate 
section throwing out heralds and passes, and 
also has towed banners to plug some big 
coming feature. These stunts are put on 
only now and then, for as Bryant says, he 
is taking no chances of killing the novelty 
of his air advertising by overdoing it. 

The accompanying photo shows this 
member alongside of his 100 horsepower 
racing machine. Note the Mickey Mouse 
decoration over the landing wheel. It was 
designed especially for Bob by Walt Disney. 
"Work For a Quigley Award! 

Mascot Year Book 

Among the first of the new product an- 
nouncements that reach our desk is that of 
the Mascot Pictures executed and well de- 
vised by Al Sherman, director of advertis- 
ing and publicity. The general color scheme 
is a tasteful red and black, illustrating the 
12 pictures detailed in the book. Al wisely 
lays off the sensational and has turned out a 
very readable brochure. 

Work For a Quigley Award! 

Barnhart Fills In 
For Al Hostler 

With Al Hostler, Strand Theatre man- 
ager, Altoona, Pa., taken ill suddenly with 
scarlet fever, exhibitor Jake Silverman 
called in D. B. Barnhart to stand by, this 
showman being known to the Silverman 
brothers through his connection with the 
State , Fair Park in Wheeling, W. Va., 
which he had managed for many years. 

Barnhart arrived in time to handle the 
18th anniversary of the theatre, and as both 
Silvermans, Jake and Ike, are prominent 
and well liked citizens of Altoona, the city 
cooperated readily in putting over the occa- 
sion. Both newspapers broke page one 
stories and gave space in the editorial col- 
umns to the brothers who are known as the 
"fathers" of the local motion picture busi- 
ness, the stories going back to the old days 
of the penny arcade era. 

"Work For a Quigley Award! 

Weshner Modernizes Front 
For Increased Receipts 

Since taking over the Milwaukee and 
Wisconsin Theatres for Warner Brothers, 
zone manager Skip Weshner has been work- 
ing night and day to put many of these spots 
in better working order. Skip is an old 
time believer in the value of fronts that arc 
attractive and easy on the eye and has done 
a lot of fine work in this respect. 

The front of the Egyptian Theatre, Mil- 
waukee, (see photo), is a good example of 
Weshner's activities. Previously, it was 
decorated with two conventional three sheet 
frames and a banner strip above the doors. 
Skip's new front covers the masonry en- 
tirely, panelled enlargements and artistic 
abovedoor banners, as can be perceived, do- 
ing- a dressy job of selling. 

Bryant at His Plane 

Cohen's Shadow-Box Lobby 

Luckie's Atmospheric Front 

Weshner Directs Metamorphosis 

Changes in the outdoor lighting also 
helped to bring new attention to the theatre. 
Repainting of the marquee and upright, in 
addition to lamps of stronger wattage, added 
to the attractiveness of the entire front. Re- 
ceipts are reported to have increased satis- 
factorily which may be a tip-off to other 
theatremen looking about for angles to in- 
crease the drawing power. 

Abe Coh en Constructs 
Own Theatre Fronts 

Abe Cohen and his sign painter take de- 
light in turning out attractive fronts up at 
Schine's Massena, Massena, N. Y., as wit- 
ness photo, illustrating construction of 
beaverboard with eight by ten insertions on 
".Men In White." Under the marquee an 
electrically lighted shadow-box with cutout 
letters was planted and the two large heads 
on either side of the box-office were obtained 
from local exchange. 

Abe covered the surrounding towns by 
use of his mailing list, sending programs 
announcing his showing of "Men in 
White" ; in addition to country billing, news- 
paper ads, etc. Four store windows were 
promoted and dressed with Neon displays 
to plug the picture. 

Work For a Quigley Award! 

Luckie Also Goes 
le on "Tarzan" 


An atmospheric front was constructed by 
D. F. Luckie at the Strand in Orange, 
Texas, for "Tarzan and His Mate" that 
drew particular attention from the kid 
patronage. The entire front was covered 
with palm leaves to give the jungle efifect 
(see photo) and Luckie got hold of two 
monkeys whose antics in a cage in front of 
the house caused no end of amusement. We 
assume the gentleman at right with the 
monkey is Luckie. 

Copy in all ads stressed the fact that the 
picture was one that the whole family could 
see, and "D. F." reports that the many 
families who took him at his word helped 
to crack a lot of attendance records. 

Work For a Quigley Award! 

Boucher Names Horse 
Race After Star 

A stunt that always is good for extra pub- 
licity and is potent at this time of the year 
is the naming of certain races at local tracks 
after stars appearing in current pictures.. 
This slant was whipped across by Frank 
Boucher, for his date on "Viva Villa" at the 
Maryland, Hagerstown, Md. 

However, Frank went the gag a step bet- 
ter by promoting a sizeable cup for the win- 
ner, presenting it in the name of Wallace 
Beery, star of the picture, with which cog- 
nomen the gallop was inaugurated. The 
stunt broke the local dailies and was also 
carried by other papers reporting the re- 
sults of the races at the popular Maryland 

Work For a Quigley Award! 

Lamm Promotes Sears, 
Roebuck for Free Ad 

Louis Lamm, Capitol Theatre, Elyria, 
Ohio, promoted a newspaper ad for his 
house and a paid page spread on the back 
of his weekly Movie News from Sears, 
Roebuck for the showing of "As the Earth 

Ad carried copy to the effect that all the 
home furnishings, farm machinery and other 
equipment used in the picture were pur- 
chased by Warner Brothers from the mail 
order house and recommended that readers 
see the picture of farm life and a real tri- 
bute to Sears' merchandise. Pretty neat 
work on Louie's part. 

June 30, 1934 



Soap Sculptors Model 
Walt Disney Characters 

Walt Disney's "Three Little Pigs" and 
"Big Bad Wolf" carved from soap by Helen 
Earle, of Jacksonville, Texas, (see photo) 
won an honorable mention and cash prize 
in the senior class at the Tenth Annual 
Soap Sculpture competition at Rockefeller 
Center, New York. 

Nearly 4,000 sculptures were reported to 
have been entered for the Procter & Gamble 
prizes. Contestants were listed from all 
parts of the country, and after the New 
York show, selected groups of entries are to 
be sent on tour to various sections. 

Work For a Quigley Award'. 

Jungle Street Bally 
Plugs "Lost Jungle" 

Perhaps the showmen at the State Thea- 
tre, Youngstown, Ohio, raided a few merry- 
go-rounds to obtain jungle beasts for ex- 
ploitation on "Lost Jungle," but wherever 
they were obtained a flash lobby was cre- 
ated, the animal figures planted realistically 
against the background of palms, grass^ etc. 

Two days ahead, the display was placed 
on a sound truck (see photo) and a boy 
dressed in Clyde Beatty costume put on an 
animal training act with chair and pop gun. 
An old barrel was secured with a rosined 
piece of rope through the center which when 
pulled gave forth an awe-inspiring roar. 
The elephant on the truck was animated by 
motor which caused it to move trunk, head 
and tail. 

Other gags used were a valance that 
covered all sides of marquee and imprinted 
napkins distributed in downtown restaurants. 
Effective cooperation was given by S. P. 
Gorrel, sales manager for Mascot Pictures 
in that territory. 

Work For a Quigley Award! 

Now, Herman 

Seems that Clark Gable is available for 
exploitation over in Glen Cove, Long- 
Island, where Herman Starr tied in with 
local drug store to distribute color stills of 
the star on "Manhattan Melodrama," at the 
Cove Theatre. Copy was headed "Ladies, 
Clark Gable is Yours For the Asking. 

Work For a Quigley Award! 

Taylor Ties In Mayor 
On "Hollywood Party" 

Bill Taylor, Loew's State, Houston, Tex., 
must know his Mayor well for on "Holly- 
Avood Party" he planted a newspaper story 
to the effect that "Mayor Oscar Holcombe 
is apt to be gone again over the week-end, 
but do not trouble his charming secretary as 
to his whereabouts as the chances are one 
hundred to one he's gone to Loew's to see 
'Hollywood Party.' " Bill reports that His 
Honor enjoyed the clowning. Remember 
the old adage "know your man" before you 
pull this one. 

A star doubles contest was put on to find 
locals resembling the most prominent stars 
in the picture. Contestants were judged 
by audience applause at evening shows. All 
street cars were bannered, while for an ex- 
tra bally six Hollywood party girls outfitted 
in shorts crashed the ball park, boxing show 
and wrestling matches, being introduced 
from the diamond and ring with a plug for 
the picture. 

Soap Sculpture Disney Models 

"Lost Jungle" Street Bally 

Shaffer's Costinncd Rider 

Botivick's "Vanity" Windou' 

On "Manhattan Melodrama" Taylor ef- 
fected a tie-up with Western Union whereby 
twenty-five telegrams were sent to most 
popular girls in graduating classes of each 
school in the city. Message was signed by 
Clark Gable and invited each girl to see 
the picture as his guest at the State. A tie- 
up with the classified section of one of the 
papers also netted Bill a thirty inch ad. 

Shaffer Sells Beery 
As Robin Hood 

Over 1,000 girls attend college in Harrison- 
burg, Va., and to draw from this desirable 
class of patronage. Manager F. K. Shaffer, 
of the Virginia Theatre in that spot, sold 
"Viva Villa" from the romance angle, deck- 
ing up his ads with a lot of pretty girls and 
boosting Wallace Beery as Robin Hood, the 
poor man's friend. 

To catch the attention of the farm trade, 
Shaffer put out a bally of a costumed rider 
on a horse carrying banner reading "Villa 
Rides Again," (see photo) and reports that 
this slant got him plenty in return, as it cost 
him little and impressed the rurals to whom 
it appealed. 

Work For a Quigley Award! 

Lou Snnith Inaugurates 
An Aeroplane Contest 

Lou Smith, New Elton Theatre, Brook- 
lyn, N. Y., has put over what he calls an 
Aeroplane Contest for his kid patronage, 
and says if there is anything any of you 
boys want to ask him about, he'll meet all- 

On the premise that all kids love to build 
aeroplanes, he offered three silver loving 
cups and twelve aeroplane kits for the best 
models turned in. Lou got six pilots from 
Floyd Bennett Field to select the winners 
and broke his newspapers with plenty of 
publicity. He further suggests in starting 
an Aeroplane Club every member be given 
a kit, these to be gotten from an aeroplane 
supply store at minimum cost with the mer- 
chant to be promoted for a few models to 
get the Club started. 

Lou reports that he had three windows 
full of models and claims it is one of the 
greatest stunts he ever pulled at his house. 

Work For a Quigley Award! 

Gurley Constructs Giant 
Sized "Century" Display 

We recently showed you Clarke Gurley's 
display on "Eskimo," and now he comes 
through with one on "20th Century" for the 
date at the Ritz in Bainbridge, Ga. The 
display with just the name of the picture ran 
right across the front of his house at the 
edge of the street, measuring 27 feet long, 
each letter 34 inches high and 10 inches 
thick. At night the display was illuminated 
with concealed footlights, 20 red and blue 
lamps. Clarke tells us that this display was 
constructed by Artist Ben Rivers and at- 
tracted plenty of attention. 

Work For a Quigley Award! 

Botwick Uses Newsreel 
Shot to Sell "Vanities" 

Tying-in the newsreel shot of Earl Car- 
roll arriving in Boston with the print of 
"Murder at the Vanities," Harry Botwick, 
State, Portland, Maine, used the clip with 
the regular newsreel on his showing of the 
picture. Harry had the print shipped to him 
by air and played this up in the papers, 
which gave it a good break in connection 
with a special story on Carroll. 

A tie-up with one of the leading mer- 
chants netted him a window-display (see 
photo) and two free ads. Electrical tran- 
scripton, orchestrations and music were 
plugged over radio station for a week in 
advance, picture and theatre receiving cred- 
its at all times. 



June 30, 1934 


Now that Ed Hart, City Manager, Walter Reade Theatres, Plainfield, N. J., 
has put on the first reported bathing suit revue, we may say the season is now 
officially on for this box office builder. And here are the details from Ed for 
the information of the interested. Ed speaking: 

"As soon as the weather becomes hot enough to interfere with business, I con- 
tact department stores selling nationally known bathing suits such as Annette 
Kellerman, Jantzen, etc. Arrangements are made to select the prettiest girl em- 
ployees to model suits and beach togs, girls given the outfit they wear by the 
manufacturer in payment for services. The revue is put on for three days, with 
store advertising ten days ahead and during the showings. 

"The stunt is costless to the theatre and store, and as all store advertising 
includes mention of screen attractions as well, theatre may cut down the budget 
for this feature. The idea is valuable at this time especially in view of the usual 
circus and carnival opposition." 

Hart sends along tear sheets of department store advertising wherein generous 
space is given to both the bathing suit show and screen, at the Oxford Theatre. 
Newspapers also carried publicity on this. Presentation was put on at 8:30 each 

"Beggars In Ermine" 
Lands Spot Windows 

Colored enlargements of Betty Furness 
wearing the new style fashions were planted 
in numerous Broadway windows by Man- 
ager Leo Justin and publicity director Stock- 
ton Leigh for the date on "Beggars in 
Ermine" at the New York Mayfair. 

Of special mention was the tieup made 
with Macy's Cinema Shop, wherein an en- 
tire window was given over to the plug, 
as well as additional showings inside the 
store. Crowd-stopper street ballys of charac- 
ters costumed were also used effectively. 

D. E. WESHNER, Division Manager 
Warner Theatres, Wisconsin 

Outside frosted obsolete lamps such as 
10-, 15-, 25- and AQ-watt colored, which 
have been used on marquees, etc., can be 
salvaged by dipping the bulbs into a 
strong solution of lye, thus restoring the 
bulbs to their original clearness. This was 
done by Manager Exton of the Venetian, 
Milwaukee, who salvaged 145 bidbs at a 
total cost of iO cents for the lye. Weshner 
intends practicing this procedure in other 
theatres of his division. 

Valentine, Toledo, Ohio 

We have found that the following mar- 
quee letters may be used for substitution: 
X for Y, E for F, E or T for I, B for E, 
D for L, D for U. Due to black metal 
background , we use black tape for block- 
ing out, but theatres with light colored 
backgrounds can use adhesive tape. Would 
appreciate other members sending in other 
alphabet combinations to be used as above. 

Houses without poster artists or a cut or 
machine can make up attractive one, three 
and six sheet cutout posters. We use these 
weekly and make them up with aid of fret 
saw and a sheet of compoboard. These 
are embellished wherever illumination can 
heighten effect. 

Bevel's Hollywood 
Beauty Contest Clicks 

L. W. Bevel, Princess Theatre, Harri- 
man, Tenn., put on a "Hollywood Beauty 
Pageant" (see photo), the gentleman to the 
left being "L. W." himself and to the rielit, 
Philip Reye, ventriloquist and magician en- 

Tying in with the merchants in his town, 
each young lady in the pageant represented 
one of the stores and was introduced from 
the stage as "Miss (Business firm)". Bevel 

Bevel's Hollywood Pageant 

called on various spots for his judges, Mex- 
ico City, California, Atlanta and Birming- 
ham visitors serving in this capacity. Girls 
paraded before the committee for elimina- 
tion and the lucky one was awarded with a 
loving cup and given the title "Miss Harri- 
man." During rehearsals pictures were 
taken which were later spotted in the lobby. 

Bevel, who is no mean musician himself, 
helped entertain while the judges were out 
in order to avoid any dull moments. The 
entire show including advertising, etc., cost 
only $40, so "L. W." reports and played to 
capacity the two days it ran. 

Work For a Qttigley Award! 

Stoflet's Candy Giveaway 

When Col. C. R. Stoflet, Margie Grand 
Theatre, Harlan, Ky., played the serial 
"Pirate Treasure" cards were given away 
before the showing of chapter one to all kids 
attending, announcing a treasure hunt and 
informing the youngsters that the card to- 
gether with their ticket of admission would 
entitle each of them to a free box of candy. 


(.Continued from page 77) 

Bolstad, comptroller ; J. C. Nairn, director 
of publicity, and others. Fellow managers 
in Famous Players sent wires coming from 
the East Coast, represented by R. J. Mac- 
adam in Halifax, F. W. Winter in Monc- 
ton, and Walter H. Golding in St. John. 
Skipping across Canada to the West Coast, 
came congratulations from L. L Bearg, 
western division manager. 

Even in Montreal, congratulations were 
showered in by wire, with messages from 
J. C. Adams, of Loew's Theatre, T. Cleary 
of the Princess Theatre, the managers of 
Radio Stations CRCM, CHLP, CFCF and 
CKAC, as well as tributes from many Cana- 
dian concerns with headquarters in Mon- 
treal, which was testimony as to the regard 
these concerns have for Gene and Ken in 
their community. 

Managers Send Congratulations 

An interesting sidelight was a wire from 
John J. Friedl in Minneapolis, as it was he 
who first started Gene Curtis in the motion 
picture business. Congratulations were also 
received from Ed Cuddy, division manager, 
and from Walter Lloyd and other managers 
in the Mullin-Pinanski Circuit. 

Tributes also came from outside of the 
industry, as evidenced by messages from 
civic officials, newspapers and commercial 
concerns from coast to coast in Canada and 
the United States, from the mayor of Hali- 
fax to the Governor of Michigan. 

Hollywood was represented by wires from 
many of the stars, particularly those on the 
Warner Brothers' lot. 

Obtained Smash Publicity 

Time and space do not permit listing all 
telegrams received, nor the messages they 
conveyed. But important was this world- 
wide tribute to these two theatremen and the 
recognition paid them for the winning of the 
coveted Quigley Plaque. 

Old-timers say that they cannot recall 
such an ovation ever before given, which is 
indication of the importance Quigley Awards 
have in the eyes of the industry. 

Noteworthy was the smash newspaper 
publicity obtained by these popular show- 
men, every daily in town carrying pictures 
of the winners and stories, including a three- 
column picture on the front page of the 
plaque itself. 


In Better Theatres, Section Two of this 
issue of Motion Picture Herald, there is a 
raft of good stuff of interest to all theatre- 
men. George Schutz has written another 
instalment of his ace series on theatre ad- 
vertising in which he explains type, infor- 
mation of practical aid to every manager. 

J. T. Knight again discusses theatre super- 
vision, describing the ordering of the the- 
atre's routine affairs, and Leo T. Parker 
speaks on the law controlling advertising. 
Among the other good features are actual 
methods in late theatre design for those 
contemplating building or remodeling. 

June 30, 1934 




Productions are listed according to the nannes of distributors in order that the exhibitor may have a short-cut towards such 
information as he may need, as well as information on pictures that are coming. Features now in work or completed for release 
later than the date of this issue are listed under "Coming Attractions." Running times are those supplied by the companies. 
Asterisk indicates running time as made known by West Coast studio before announcement by home office in New York. 
Variations also may be due to local censorship deletions. Dates are 1934, unless otherwise specified. 




Title Star 

City Park Sally Blane-Henry B. Walthall- 

Matty Kemp May 

Green Eyes Charles Starrett-Shirley Grey.... June 

Murder on the Campus Charles Starrett-Shirley Grey.. .Dec. 

Quitter, The Emma Dunn-Charley Grapewin- 

Barbara Weeks - Wm. Bake- 
well Feb. 

Running Time 
Rel. Date Minutes Reviewed 



27, '33.. 


..65 Mar. 24 

Rainbow Over Broadway Joan Marsh-Frank Albertson Dec. I. '33 70 C^V Cll k>(C 

Sally Blane-Charles Starrett Mar. 15 75 TWA riLlVlJ 

Star Running Time 

Rel. Date Minutes Reviewed 

Cominq Attractions 

British Agent Leslie Howard-Kay Francis , 

(See "In the Cutting Room," June 23.) 
Kansas City Princess Joan Blondell - Glenda Farrell- 

Robert Armstrong 

Man With Two Faces, The ...Edward G. Robinson - Mary 

Astor- Ricardo Cortez 72... June 2 

Midnight Alibi Richard Barthelmess - Ann 

Dvorak - Helen Lowell July 14 59 May 26 

Return of the Terror Lyie Talbot-Mary Astor July 7 65 June 2 

Stolen Sweets 



Title Star 

Black Moon Jack Holt-Fay Wray 

Crime of Helen Stanley. The . Ralph Bellamy-Shirley Grey Apr. 

Fighting Ranger, The Buck Jones- Dorothy Revier Mar. 

Hell Bent for Love Tim McCoy-Lilian Bond May 

Hell Cat, The Robt. Armstrong-Ann Sothern. .. June 

(See "In the Cutting Room," May 12.) 

It Happened One Night Clark Gable-Claudette Colbert. 

Line-Up, The William Gargan-Marian Nixon 

Man Trailer, The Buck Jones-Cecilia Parker ... 

Man's Game, A Tim McCoy-Evalyn Knapp ... 

Most Precious Thing in Life.. Jean Arthur - Donald Cook 

Richard Cromwell 

Ninth Guest, The Donald Cook-Gepevieve Tobin. 

No Greater Glory Frankie Darro - Lois Wilson 

George Breakston 

Once to Every Woman Fay Wray - Walter Connolly 

Running Time 
Rel. Date Minutes Reviewed 
June 15 69. 


..Apr. 12 

One Is Guilty Ralph Bellamy-Shirley Grey.. 


. .Mar. 





. .May 




58 . . 

. .June 




5. . . . 


. .June 



31 . . . 

.. 69.. 

. .Mar. 





. Mar. 




.. 70.. 

. .Mar. 




.. ..64.. 

. May 




.. 65.. 



■ Apr. 

15. . . 

.. ..70.. 

. .Apr. 




.. ..74.. 



.. ..60.. 

. .Apr. 





. .Apr. 



6 . 

.. ..59.. 



74. . 

. .Apr. 


McCoy-Shirley Grey.... 
Sothern - Paul Kelly 

Sisters Under the Skin Elissa Landi-Joseph Schildkraut- 

Frank Morgan 

Social Register Colleen Moore-Alexander Kirk- 

Speed Wings Tim McCoy-Evalyn Knapp 

Twentieth Century John Barrymore - C. Lombard - 

Walter Connolly 

Voice in the Night Tim McCoy-Billie Seward 

Whirlpool Jack Holt-Lila Lee-Jean Arthur. 

Coming Attractions 

Beyond the Law Tim 

Blind Date Ann 

Neil Hamilton 
(See "In the Cutting Room," June 16.) 

Broadway Bill Warner Baxter-Myrna Loy 

Captain Hates the Sea, The... Fred Keating - Wynne Gibson - 

Victor McLaglen-John Gilbert 

Defense Rests, The Jack Holt- Jean Arthur 

(See "In the Cutting Room," June 16.) 

Girl In Danger Ralph Bellamy-Shirley Grey 

Lady Is Willing, The Leslie Howard-Binnie Barnes 76... Fi 

One Night of Love Grace Moore-Tullio Carminati 

Orchids and Onions Carole Lombard 

Song You Gave Me, The Bebe Daniels- Victor Varconi 84. Oct. 

Sure Fire Gene Raymond 

What Price Scandal Richard Cromwell-Arline Judge 

Whom the Gods Destroy Walter Connolly-Robert Young- 
Doris Kenyon July 7 


F eatures 

Title Star Rel. Da 

Beast of Borneo John Preston - May Stuart - 

Borneo Joe Apr. 

Fantomas Jean Galland Feb. 

Girl in the Case Jimmy Savo - Eddie Lambert - 

Dorothy Darling Mar. 

Hollywood, City of Dreams Jose Bohr Mar. 

Romance in Budapest Franciska Gaal Apr 

Shame of a Nation Gustaf DiessI Apr. 

Tell-Tale Heart Norman Dryden - John Kelt - 

Yolande Terrell June 

Coming Attractions 

Blue Light Leni Riefenstahl Aug. 

Running Time 

Minutes Reviewed 

14. . 
15. . 

30. . 

. .70. 

. .68. 
. .93. 
. .75. 


. . May 
. . May 



Title Star Rel. 

Dassan Dec. 

Forgotten Men War Film Apr 

He, King of Virtue Fernandel-Collette Darfeuil Dec. 

Road to Ruin Helen Foster-Paul Page May 

Throne of the Gods Dec. 

Running Time 
Date Minutes Reviewed 

22, '33 36 . Dec. 30,'33 

I 84. May 27,'33 

20, '33 58 

15 58 Feb. 24 

22, '33 55. Dec. 30,'33 





Bedside Warren William jan 

Big Shakedown, The Bette Davis - Charles Farrell - 

Ricardo Cortez Jan. 

Circus Clown, The Joe E. Brown June 

Dark Hazard Edward G. Robinson Feb. 

Fashions of 1934 William Powell-Bette Davis Feb 

Fog Over Frisco Donald Wood-Bette Davis-Lyle 

Talbot-Margaret Lindsay June 

Journal of a Crime Ruth Chatterton Mar 

Mandalay Kay Francis-Ricardo Cortez .... Feb 

Massacre R. Barthelmess-Ann Dvorak Jan. 

Merry Fnnks, The Aline MacMahon May 

Registered Nurse Bebe Daniels-Lyle Talbot Apr 

Side Streets Aline MacMahon - Paul Kelly- 
Ann Dvorak June 

T Woman in Her Thirties." "In the Cutting Room," Mar. 

Twenty Million Sweethearts. .. Dick Powell - Ginger Rogers - 

Pat O'Brien May 

'Rhythm in the Air.") 

.Joe E. Brown-Alice White May 

.Al Jolson-Dick Powell-Ricardo 
Cortez- Dolores Del Rio- Kay 
Francis Mar. 

Running Time 
Rel. Date Minutes Reviewed 

6 64... Feb. 17 

30 63 . . . May 19 

3 72. Nov. 25,'33 

(Reviewed under the title 
Very Honorable Guy, A. 
Wonder Bar 


.. .78. 


. .68. 


. . .65. 


. 65. 










. . .62. 





Ml Men Are 


Running Time 
Date Minutes Reviewed 

Baby Take a 
Bottoms Up 





. . .June 






. . .June 



. . Feb. 



. . May 



. . . Jan, 



. . .Apr. 



. . Mar. 



. . Feb. 



. . . Apr. 



. . . Feb. 



. . Mar. 



Aug. I2.'33 


. . .Mar. 



. . .Jan. 






. . May 



. . . Apr. 



. . Mar. 



Enemies Hugh Williams - Helen Twelve- 
trees . Apr. 

Bow James Dunn - Claire Trevor - 

Shirley Temple June 

'Pat" Paterson -Spencer Tracy- 
John Boles Mar. 

Call It Luck "Pat" Paterson-Charles Star- 
rett June 

Carolina Janet Gaynor-Lionel Barrymore- 

Robert Young-Henrietta Cros- 

man Feb. 

Change of Heart Janet Gaynor-Charles Farrell- 

Ginger Rogers-James Dunn.. . May 

Charlie Chan's Courage Warner Oland-Drue Leyton June 

(Sec "In the Cutting Room," May 26.) 

Coming Out Party Frances Dee-Gene Raymond Mar. 

Constant Nymph, The Victoria Hopper-Brian Aherne. . . Mar. 

David Harum Will Rogers-Evelyn Venable Mar. 

Devil Tiger Kane Richmond-Marion Burns. ... Feb. 

Ever Since' Eve George O'Brien-Mary Brian Feb. 

Frontier Marshal George O'Brien-Irene Bentley. . . . Jan. 

George White's Scandals Rudy Vallee - George White - 

Alice Faye-Jimmy Durante. ... Mar. 

Heart Song Lilian Harvey-Charles Boyer Apr. 

Hold That Girl James Dunn-Claire Trevor Feb. 

I Am Suzanne! Lilian Harvey-Gene Raymond. .. .Jan. 

I Believed in You Victor Jory - John Boles - 

Rosemary Ames Feb. 

Murder in Trinidad Heather Angel - Victor Jory - 

Nigel Bruce Apr. 

Now I'll Tell Spencer Tracy-Alice Faye-Helen 

Twelvetrees May 

Orient Express Heather Angel-Norman Foster. Jan. 

Sleepers East Wynne Gibson -Preston Foster. ... Jan. 

(See "In the Cutting Room," Dec. 30, '33.) 

Springtime for Henry Otto Kruger - Nancy Carroll - 

Heather Angel May 

Stand Up and Cheer (All Star Musical) May 

Such Women Are Dangerous ... Warner Baxter- Rosemary Ames . May 

Three on a Honeymoon Sally Eilers- Johnny Mack Brown . Mar. 

(See "In the Cutting Room," Mar. 3.) 
Wild Gold John Boles - Claire Trevor June 

''oming Attractions 

Caravan Charles Boyer - Loretta Young - 

Jean Parker-Phillips Holmes. . .Sept. 

Cats-Paw, The Harold Lloyd-Una Merkel Aug. 

(See "In the Cutting Room," May 12.) 

Grand Canary Warner Baxter-Madge Evans July 

Handy Andy Will Rogers-Peggy Wood July 

Judge Priest Will Rogers Oct. 

Marie Galante ... Spencer Tracy-Ketti Gallian 

Serenade "Pat" Paterson-Nils Asther Aug. 

Servants' Entrance Janet Gaynor-Lew Ayres Sept. 

She Learned About Sailors Lew Ayres-Alice Faye July 

She Was a Lady Helen Twelvetrees - Donald 

Woods - Ralph Morgan July 20 

Wanted Rosemary Ames - Victor Jory - 

Russell Hardie Aug. 10 


Features Running Time 

., Title Star Rel. Date Minutes Reviewed 

Along Came Sally Cicely Courtneidge 72 Mar 3 

(Reviewed under the title "Aunt Sally.") 

Arson Ring, The Leslie Banks 

Channel Crossing Constance Cummings - Matheson 

Lang ..June 1 64 Apr. 7 

Dick Turpin Victor McLaglen June 15 72 

Evergreen Jessie Matthews-Sonnie Hale '.' iune' ik 

rh„M? ^tl! Jessie Matthews May I ::73::::May 26 

Just Smith Tom Walls eo iu.,v 1 

Murder Party, The Leslie Banks 62 ' Mar Ift 

(Reviewed under the title "The Night of the Party.") 

Orders Is Orders Charlotte Greenwood - James 

G'eason Apr. 15 61. Aug. I9,'33 


..Apr. 28 
..Apr. 28 
..June 16 

. May 26 

*80 June 

.81 May 



6 *80 June 23 

Prince of Wales, The. 

Sleeping Car Ivor Novello-Madelcine Carroli ." 83 jiiiy 8 '33 

Waltz Time Evelyn Laye Mar 1 76 Auo IJ 'I^ 

What? A Boy! Edward Everett Horton - Leslie 7b. Aug. 12,33 

Hensen nn ^pnt 'i^ 

(Reviewed under the title "It's a Boy.") ou.sept. csu, is 

Wings Over Everest ■« 

Woman in Command, The Cicely Courtneidge - Edward 

Everett Horton May 28 70 




Title Star 

Born to Hang All -Star Cast 

I Hate Women Wallace Ford-June Clyde Apr 

Woman Unafraid Lucille Gleason - Richard 

"Skeets" Gallagher Feb. 


f Distributed through Chesterfield ] 

Title Star Rel. 

CroM Street! John Mack Brown Claire Wind- 

lor-Anita Louise - Kenneth 

Thomson Jan. 

Fifteen Wives Conway Tearle-Noel Francis June 

(See "House of Strangers," "In the Cutting Room," June 2.) 

Running Time 
Rel. Date Minutes Reviewed 

June 15 

15 72. . . .Apr.' i* 



Running Time 
Date Minutes Reviewed 



June 30, 1934 


Title Star Rel. 

Fugitive Road Eric Von Stroheim - Leslie 

Fenton - Wera Engels July 

In Love Witt) Life Onslow Stevens-Lila Lee-Dickie 

Moore Apr. 

Twin Husbands John Miljan - Shirley Grey - 

Monroe Owsley Feb. 

Running Time 
Date Minutes Reviewed 

.66. . 
.68. . 
.62. . 





Title Star 

Cheaters "Bill" Boyd-Dorothy Mackaill- 

June Collyer June 

Coming Attractions 

No Ransom Leila Hyams-Phillips Holmes. .. .Oct. 

Once to Every Bachelor Marian Nixon-Neil Hamilton. ... Dec. 

School for Girls Sidney Fox-Paul Kelly Mar. 

Take the Stand Jack LaRue-Thelma Todd Sept. 

Two Heads on a Pillow Neil Hamilton-Miriam Jordan ... Feb. 

When Strangers Meet Richard Cromwell-Arline Judge . July 

Without Children May 

Running Time 
Date Minutes Reviewed 

.May 19 
'.May "is 

26 70. 

14 72. 

22, '35 

7 78. 

I, '35 

20 74. 




Title Star Rel. 

Charming Deceiver, The Constance Cummings Dec. 

(Reviewed under the title. "Heads We Go.") 

Morning After, The Ben Lyon-Sally Eilers Jan. 

(Reviewed under the title, "I Spy.") 

Sin of Nora Moran, The Zita Johann-John Miljan Dec. 

Unknown Blonde Edward Arnold - John Miljan- 

Barbara Barondess - Dorothy 
Revier Apr. 

Coming Attractions 

Scarlet Letter, The Colleen Moore-Hardie Albright- 
Henry B. Walthall 

(See "In the Cutting Room." June 2.) 

She Had to Choose "Buster" Crabbe-lsabel Jewell- 

SaMy Blane-Regis Toomey 

Running Time 
Date Minutes Reviewed 
8/33 87. Sept. 16, '33 

I 63. Oct. 28. '33 

13, '33 65. Dec. 30. '33 

25 67 May 5 



Title Star Rel. 

Badge of Honor Buster Crabbe-Ruth Hall Apr. 

Fighting Rookie, The Jack LaRue-Ada Ince May 

What's Your Racket? Regis Toomey-Noel Francis Dec. 

Coming Attractions 

Untitled Buster Crabbe-Gloria Shea 

Running Time 
Date Minutes Reviewed 

15 68 

15 68 

I, '33 70... Mar. ID 



Title Star Rel. 

Cat and the Fiddle, The Jeanette MacDonald - Ramon 

Novarro Feb. 

Dinner at Eight Marie Dressier- Wallace Beery- 
Lionel Barrymore-John Barry- 
more - Jean Harlow - Madge 
Evans- Karen Morley-Edmund 
Lowe - Lee Tracy - Jean 
Hersholt Jan. 

Eskimo Native Cast Jan. 

Fugitive Lovers Robt. Montgomery-Madge Evans . Jan. 

Hollywood Party (All Star Musical) June 

Laughing Boy Ramon Novarro-Lupe Velez Apr. 

Lazy River Jean Parker-Robert Young Mar. 

Manhattan Melodrama Clark Gable-Myrna Loy-William 

Powell May 

Men in White Clark Gable-Myrna Loy Apr. 

Murder in the Private Car Charles Ruggles-Una Merkei. . . June 

(See "In the Cutting Room," June 16.) 

Mystery of Mr. X Robert Montgomery - Elizabeth 

Allan Feb. 

Operator Thirteen Marion Davies-Gary Cooper June 

Queen Christina Greta Garbo-John Gilbert Feb. 

Riptide Norma Shearer - Robert Mont- 
gomery - Herbert Marshall .... Mar. 

Sadie McKee Joan Crawford -Franchot Tone May 

Show-Off, The Spencer Tracy-Madge Evans Mar. 

Tarzan and His Mate '. Weissmuller-M. O'Sullivan.. Apr. 

Thin Man, The William Powell-Myrna Loy May 

This Side of Heaven Lionel Barrymore-Fay Bainter. . . Feb. 

You Can't Buy Everything .... May Robson-Jean Parker Jan. 

Running Time 
Date Minutes Reviewed 

12 113. June 

19 117. Nov. 

5 78. Dec. 

I . 
13. . 


10, '33 
18, '33 

4. . . 

6. . . 

. .77. 



. . .Apr. 


. .75. 




91 . 

. . .Mar. 



. . .June 



Dec. 30, '33 


. . .Mar. 



. . .May 


. .80. 

. . .Mar. 


1 16. 

. . . Apr. 



. . .May 



. . .Jan. 


. .85. 




Coming Attractions 

Barretts of Wimpole Street. ... Norma Shearer-Charles Laugh- 
ton - Fredric March 

Born to Be Kissed Jean Harlow-Franchot Tone July 

(See "In the Cutting Room," June 16.) 

Four Walls Franchot Tone - Karen Morley - 

May Robson-Mae Clarke 

Have a Heart Jean Parker - James Dunn - 

Stuart Erwin - Una Merkei 

Hide Out Robert Montgomery - Loretta 


Merry Widow, The Maurice Chevalier - Jeanette 


Paris Interlude Otto Kruger - Robert Young - 

Madge Evans - Una Merkei. ..July 20. 

Sacred and Profane Love Joan Crawford-Clark Gable 

Stamboul Quest Myrna Loy-George Brent July 6. 

(See "In the Cutting Room," June 23.) 

Student Tour Charles Butterworth - Jimmy 

Durante July 

(See "In the Cutting Room." June 23.) 

Treasure Island Wallace Beery - Jackie Cooper- 
Lionel Barrymore-Otto Kruger.. Aug. 
(See "In the Cutting Room," May 19.) 

Untitled Constance Bennett - Herbert 

Marshall - Hugh Williams 

Viva Villa! Wallace Beery-Fay Wray 115 Apr. 





Title Star Rel. Date 

Beggars In Ermine Lionel Atwill Apr. 

Blue Steel John Wayne May 

City Limits Ray Walker-Sally Blane-Frank 

Craven May 

House of Mystery, The Verna Hillie-Ed Lowry May 

Loudspeaker, The Ray Walker-Jacqueline Wells. . . .June 

Lucky Texan, The John Wayne Jan. 

Man from Utah, The John Wayne May 

Manhattan Love Song Dixie Lee-Robt. Armstrong May 

Money Means Nothing Wallace Ford-Gloria Shea June 

Monte Carlo Nights Mary Brian-John Darrow May 

Mystery Liner Noah Beery • Astrid Allyn - 

Cornelius Keefe Mar. 

Randy Rides Alone John Wayne June 

Sixteen Fathoms Deep Sally O'Neil-Creighton Chaney. . . Jan. 

Wost of the Divide John Wayne- Virginia B. Faire...Mar. 

Woman's Man John Halliday-Marauerite de la 

Motte-Wallace Ford Feb. 

Running Time 

Minutes Reviewed 


70. . 

. . Feb. 



, 54., 

. . May 




. .June 



61 . . 


67. . 

. .May 



. . ..55.. 

. .Jan. 



. . ..55.. 


. . ..73.. 

. .Mar. 



.. ..70.. 

. .May 


20 , , , , 



.. ..62.. 

. .Mar. 


. .June 






. .54. . 

. .Jan. 




. .Jan. 


Title Star 

Caukinq Attractions 

Girl of the Limberlost 

Happy Landings Ray Walker-Jacqueline Wells.. 

Healer, The 

Jane Eyre Colin CMve - Virginia Bruce.. 

(See "In the Cutting Room," June 2.) 

King Kelly of the U. S. A... Guy Robertson 

Moonstone, The David Manners-Phyllis Barry. . 

Reckless Romeos Robt. Armstrong- Wm. Cagney.. 

Shock Ralph Forbes-Gwenllian Gill.. 

Star Packer, The John Waync-Verna Hillie 

Tomorrow's Youth Dickie Moore-Martha Sleeper- 
John Miljan-Gloria Shea.... 

Running Time 
Rel. Date Minutes Reviewed 




Title Rel. I 

All of Me Fredric March-Miriam Hopkins- 
George Raft Jan. 

Bolero George Raft-Carole Lombard.. .Feb. 

Come On, Marines Richard Arlen-lda Lupino Mar. 

Death Takes a Holiday Fredric March - Evelyn Venable Mar. 

(Reviewed under the title, "Strange Holiday") 

Double Door Evelyn Venable-Kent Taylor May 

Eight Girls in a Boat Kay Johnson - Dorothy Wilson- 
Doug. Montgomery Jan. 

Four Frightened People C. Colbert - H. Marshall - Wm. 

Gargan - M. Boland Jan. 

Good Dame Sylvia Sidney-Fredric March Feb. 

Great Flirtation, The Elissa Landi-Adolphe Menjou- 

David Manners June 

Here Comes the Groom Jack Haley-Patricia Ellis-Neil 

Hamilton-Isabel Jewell June 

His Double Life Roland Young-Lillian Gish Jan. 

It Ain t No Sin Mae West June 

(See "In the Cutting Room," May 12.) 

Last Round-Up, The Randolph Scott-Barbara Fritchle. Jan. 

Little Miss Marker Adolphe Meniou-Dorothy Dell- 
Shirley Temple June 

Many Happy Returns Guy Lombardo-Burns and Allen . June 

Melody in Spring Charlie Ruggles-Mary Boland- 

Lanny Ross-Ann Sothern Apr. 

Miss Fane's Baby Is Stolen. .. Dorothea Wieck-Baby Le Roy Jan. 

Murder at the Vanities Carl Brisson - Kitty Carlisle - 

Victor McLaglen-Jack Oakie...May 

No More Women Edmund Lowe- Victor McLaglen . . Feb. 

Private Scandal Mary Brian-Phillips Holmes May 

Search for Beauty Larry ("Buster") Crabbe-lda 

Lupino Feb. 

She Made Her Bed Sally Eilers-Rlchard Arlen Mar. 

Shoot the Works Jack Oakle-Ben Bernie- Dorothy 

Dell-Arline Judge June 

Six of a Kind C. Ruggles - M. Boland - W. 

C. Fields - A. Skipworth - 
Burns and Allen Feb. 

Thirty Day Princess Sylvia Sidney-Cary Grant May 

Trumpet Blows, The George Raft - Adolphe Menjou - 

Frances Drake Apr. 

We're Not Dressing Bing Crosby - Carole Lombard - 

Ethel Merman-Leon Errol Apr. 

Wharf Angel Victor McLaglen-Dorofhy Dell- 
Preston Foster Mar. 

Witching Hour, The Judith Allen-Tom Brown Apr. 

You're Telling Me W. C. Fields-Joan Marsh-Larry 

("Buster") Crabbe Apr. 

Running Time 

Minutes Reviewed 


23. . 
23. . 


5. . 

.71 . 

.Jan. 13 

.Feb. 17 

.Mar. 10 

.Jan. 20 


.75 Apr. 28 

.78. Dec. 30,'33 

.95 Feb. 3 

.72 Feb. 10 

.64 June 16 

.68. Dec. 30,'33 

.80. . 
.60. . 

. May 

.76.... Mar. 24 
.68. Dec. 23,'33 

.89. ...May 12 
.72. ...Feb. 17 
.65.... May 5 


. .Jan. 
. .Feb. 


. .72. 
. .74. 




.64. . 

.Apr. 28 
.Apr. 28 

.70 Mar. 31 

Coming Attractions 

Cleopatra Claudette Colbert • Henry Wil- 

coxon - Warren William 

Crime Without Passion Claude Rains 

Elmer and Elsie Geo. Bancroft-Frances Fuller. .. .July 27 

Kiss and Make Up Gary Grant-Genevieve Tobin July 6 70 June 16 

Ladies Should Listen Gary Grant-Frances Drake 

Mrs. Wiggs of the 

Cabbage Patch Pauline Lord - W. C. Fields - 

ZaSu Pitts - Kent Taylor - 

Evelyn Venable 

Notorious Sophie Lang Gertrude Michael - Paul Cav- 

anagh July 20 

Now and Forever Gary Cooper-Carole Lombard 

Old-Fashioned Way, The W. C. Fields July 13 

(See "In the Cutting Room," June 9.) 

Scarlet Express, The Marlene Dietrich-John Lodge 100 Apr. 28 

She Loves Me Not Bing Crosby-Miriam Hopkins 

You Belong to Me Lee Tracy-Helen Mack July 27 



Title Star Rel. Date 

Chloe Olive Borden-Reed Howes Apr. I. 

Hired Wife Greta Nissen-Weldon Heyburn . . . Mar. I . 

Playthings of Desire Linda Watkins-James Kirkwood . . Mar. 15. 

Running Time 

Minutes Reviewed 


65.... Mar. 24 





Title Star 

Ferocious Pal, The Kazan - Ruth Sullivan - Robert 

Manning Feb. 

Fighting to Live Cantain-Lady-Marron Shilling- 

Gaylord Pendleton May 

Jaws of Justice Kazan-Teddy and Richard Terry.. Dec. 

Little Damozel Anna Neagle-James Rennie June 

Coming Attractions 


Peck's Bad Boy Jackie Cooper-Thomas Meighan- 

Dorothy Petcrson-0. P. Heg- 
gie-Jackie Searl 

Running Time 
Date Minutes Reviewed 


4, '33. 



Title Star 

Cockeyed Cavaliers Wheeler and Woolsey ..June 

Crime Doctor Otto Kruger-Karen Morley Apr. 

Finishing School Ginger Rogers - Frances Dee - 

Bruce Cabot - ci^ 

Hips, Hips, Hooray! Wheeler and Woolsey ..Feb. 

Keep 'Em Rolling Walter Huston -Frances Dee. ... Mar. 

Life of Vergie Winters Ann Harding-John Boles ..June 

Long Lost Father John Barrymore- Helen Chandler ■ .Jan. 

Lost Patrol, The McLaglen-Karlotf • c £" 

Man of Two Worlds Francis Lederer-Elissa Landi . . . . Fe»- 

Meanest Gal In Town, The ZaSu Pitts - Pert Kelton - El 

Brendel - James Gleason - 

"Skeets" Gallagher Jan. 

Murder on the Blackboard James Gleason-Edna May Oliver. .June 

Running Time 
Rel. Date Minutes 



June 16 
Mar. 17 


2. . 

2. . 
22. . 
16 75.. 

9 96'/: 

69'/2 . 


June 23 
Feb. 24 


15. . 


.Mar. 10 

.June 2 

June 30, 1934 




Running Tin 
Date Minutes 





I .741/2. .May 





. .77. . 
. . 76 . . 
. .74. . 

■ .721/2 

Title Star Rel. 

Sing and Lil<e it ZaSu Pitts - Pert Kelton - 

Edward Everett Horton Apr. 

Spitfire i<attiarlne Hepburn Mar. 

Stingaree Irene Dunne- Ricliard Dix May 

Strictly Dynamite Jimmy Durante - Lupe Velez - 

Norman Foster-Wm. Gargan- 

Marian Nixon .June 

Success at Any Price Douglas Fairbanks, Jr. -Colleen 

Moore- Genevieve Tobin ..Mar. 

This Man Is Mine Irene Dunne-Ralph Bellamy. .. .Apr. 

Two Alone Jean Parker-Tom Brown Jan. 

Where Sinners Meet Clive Brook-Diana Wynyard May 

Wild Cargo Frank Buck Apr. 

■Joming Attractions 

Afterwards ZaSu Pitts-Slim Summerville- 

Wm. Gaxton-Bruce Cabot Aug. 

Age of Innocence, The Irene Dunne-John Boles 

Bachelor Bart Pert Kelton-Stuart Erwin July 27 

Down to Their Last Yacht Sidney Blackmer - Sidney Fox 

(See "In the Cutting Room," May 19.) 
Fountain, The Ann Harding-Brian Aherne 

(See "In the Cutting Room," June 23.) 

Green Mansions Dolores Del Rio-Joel McCrea 

Hat, Coat, and Glove Ricardo Cortez- Barbara Robbins. .Aug. 3 

(See "In the Cutting Room," June 9.) 

His Greatest Gamble Richard Dix-Dorothy Wilson •72 

Let's Try Again Diana Wynyard-Clive Brook 67 

(See "Sour Grapes," "In the Cutting Room," June 2.) 
Of Human Bondage Leslie Howard-Bette Davis 

(See "In the Cutting Room," Apr. 14.) 

We're Rich Again Marian Nixon - Billie Burke - 

Reginald Denny - Buster 

Crabbe - Edna May Oliver July 20 *75 

.Apr. 21 
.Feb. 24 
.May 12 

.May 12 

Apr. 21 

.Jan. 20 

.Apr. 28 

Mar. 31 


75 June 16 

June 23 


Features Running Time 

Title Star Rel. Date Minutes Reviewed 

Beyond Bengal Harry Schenck May 2 72 Apr. 28 

Big Race, The Boots Mallory-John Darrow Dec. I, '33 71 

Moth, The Sally O'Neil-Paul Page Jan. 15 63 

St. Louis Woman John Mack Brown-Jeanette Loff...Apr. 15 68 

Coming Attractions 

Golden Head 

Souls in Pawn 

Special Duty 


Within the Rock Lila Lee-Creighton Chancy 

Bombay Mail 

Countess of Monte Cristo. 
Crosby Case, The 

Cross Country Cruise. 

Half a Sinner 

Honor of the Range 

I Give My Love 

I Like It That Way 

I'll Tell the World 

Let's Be Ritzy 

Let's Talk It Over 

Little Man, What Now?. 

Love Birds, The 

Love Captive, The 

Madame Spy 


Poor Rich, The 

Smoking Guns 

(Reviewed under the title 
Uncertain Lady 

(See "In the Cutting Roo 
Wheels of Destiny 

Star Rel. 

Edmund Lowe-Onslow Stevens- 
Shirley Grey Jan. 

Fay Wray-Paul Lukas Mar. 

Wynne Gibson-Onslow Stevens- 
Alan Dinehart Mar. 

Lew Ayres - Alice White - June 

Knight Jan. 

Constance Cummings - Paul 
Lukas Apr. 

Joel McCrea-Saily Blane Apr. 

Key Maynard Apr. 

Wynne Gibson-Paul Lukas June 

Gloria Stuart-Roger Pryor Feb. 

Lee Tracy-Gloria Stuart Apr. 

Lew Ayres-Patricia Ellis Mar. 

Chester Morris - Mae Clarke. .. .June 

Margaret Sullavan - Douglass 
Montgomery June 

Summerville-Pitts Mar. 

Nils Asther-Gloria Stuart May 

Fay Wray-Nils Asther Jan. 

0. P. Heggle-Sidney Fox Jan. 

Edna May Oliver-Edward Ever- 
ett Horton Feb. 

Ken Maynard-Gloria Shea June 

"Doomed to Die.") 

Genevieve Tobin-Edward Everett 

Horton Apr. 

m," Mar. 17) 

Ken Maynard Feb. 

Running Time 
Date Minutes Reviewed 

June 23 Coniing Attractions 

Embarrassing Moments Chester Morris-Marian Nixon. .. .July 

Human Side, The Adolphe Menjou-Doris Kenyon 

Imitation of Life Claudettc Colbert 

Million Dollar Ransom Mary Carlisle - Edward Arnold- 
Phillips Holmes 

One More River Diana Wynyard - Colin Clive - 

Frank Lawton - Mary Astor - 

Reginald Denny 

(See "In the Cutting Room," June 9) 

Romance in the Rain Roger Pryor • Heather Angel - 

Esther Ralston- Victor Moore 

There's Always Tomorrow (T.). Frank Morgan-Elizabeth Young- 
Lois Wilson-Binnie Barnes 

(See "In the Cutting Room, ' June 9) 

I 68 Jan. 

19 ..78 Mar. 











.74. . 
.61 . . 
.67. . 
.69. . 


98. . 


61 . . 

70. . . 




,60 Apr. 7 

.77 Jan. 27 


.Apr. 28 

.Apr. 14 

.Mar. 17 

.June 23 

.May 26 

.Apr. 21 

.June 16 

.Jan. 6 

.Mar. 17 

.Jan. 6 
.Apr. 21 

.Apr. 14 




Title Star 

Are We Civilized? William Farnum... 

Ariane Elizabeth Bergner - 

Percy Marmont... 

Criminal at Large Emiyn Williams- 

Cathleen Nesbitt. 

Death Parade, The (War Film) 

Enlighten Thy Daughter. . .Beth Barton-Miriam 

Film Parade 

Found Alive Barbara Bedford.... 

Get That Venus Ernest Truex-Jean 


Hell on Earth All Star 

Hitler's Reign of Terror 

Le Gong (Dance of the 


Lost Jungle, The Clyde Beatty 

No Funny Business Gertrude Lawrence- 
Laurence Olivier.. 

Sweden, Land of the 


Through the Centuries 

Unknown Soldier Speaks, 


War's End 

Wine, Women and Song . . Lilyah Tashman-Lew 


Woman Condemned Claudia Dell 

World in Revolt, The 

Running Time 
Dist-r. Rel. Date Minutes Reviewed 

Raspin 70 June 23 

Blue Ribbon 
Photoplays Mar. 6 69 Apr. 7 

Helber Prods Dec. I5,'33...67 Jan. 6 

Henry Zapp 77 Feb. 3 

Exploitation Picts . .Jan. 15 80. Dec. 30,'33 

General Picts Jan. 12 55 

Ideal Feb. 10 56 Feb. 24 

Regent Picts " 

Aeolian Picts Jan. 27 70 Feb. 10 

Jewel PrdBs Apr. 30 U7 May 12 

Bennett Picts 55 Jan. 20 

Mascot May I 7 rls 

Ferrone Prods Mar. 7 60 


Cinemas Jan. 3 70 Jan. 13 

Beacon Films Dec. I, '33.. .70. Dec. I6,'33 

Lincoln Prods 67 June 2 

Capital 28 May 26 

I. E. Chadwiek 70 Dec. 23,'33 

Marey Picts Apr. 4 66 

Mentone 69 June IS 





Born to Be Bad t oretta Young-Cary Grant May 

Catherine the Great Douglas Fairbanks, Jr.-Eliza- 

beth Bergner Apr. 

Gallant Lady Ann Harding-Clive Brook Jan. 

House of Rothschild, The George Arliss Apr. 

Looking for Trouble Spencer Tracy - Jack Oakie - 

Constance Cummings Mar. 

Moulin Rouge Constance Bennett - Franchot 

Tone - T. Carminati Jan. 

Nana Anna Sten-Lionel AtwMI-Phil- 

lips Holmes Mar. 

Palooka Jimmy Durante-Stuart Erwin- 

Lupe Velez Feb. 

Sorrell and Son. H. B. Warner Apr. 

Running Ti 
Rel. Date Minutes 

13 93. . 

5 82. D 

6 86 

June 9 

Feb. 10 
ec. 9,'33 
Mar. 10 

S 77 Feb. 3 

19 70. Dec. 23, '33 

2 88 Jan. 13 


.Jan. 27 
.Jan. 6 



.Apr. 21 

.May 19 

Coming Attractions 

Affairs of Cellini, The Fredric March -Constance Ben- 
nett-Frank Morgan-Fay Wray..Aug. 3. 
(Reviewed under the title "The Firebrand") 

Barbary Coast Anna Sten-Gary Cooper 

Bulldog Drummond Strikes Back Ronald Colman-Loretta Young. ..July 20. 

Count of Monte Cristo, The... Robert Donat-Elissa Landi 

Kid Millions Eddie Cantor - Ann Sothern- 

Ethel Merman 

Last Gantleman, The George Arliss 72 May 12 

Nell Gwynn Anna Neagle-Cedric Hardwicke 

Our Daily Bread Karen Morley-Tom Keene 

(See "In the Cutting Room," May 19.) 

Private Life of Don Juan, The. Douglas Fairbanks, Sr 

Scarlet Pimpernel, The Leslie Howard 

Transatlantic Merry-Go-Round. Jack Benny - Gene Raymond - 

Nancy Carroll-Sydney Howard 

We Live Agai'h Anna Sten-Fredric March 


Running Time 
Rel. Date Minutes Reviewed 


Title Star 

Affairs of a Gentleman Paul Lukas - Leila Hyams 

Patricia Ellis May 14 66 May 12 

AM Quiet on theWestem Fittnt. . Lew Ayres Apr. 2 84. Apr. 26, '30 


Beloved John Boles-Gloria Stuart Jan. 22 82. Dec. 23, '33 

Black Cat, The Boris Karloff-Bela Lugosl-David 

Manners May 7 65 May 26 


31 . 

Features Running Time 

Title Star Rel. Date 

As the Earth Turns Jean Muir-Donald Woods Apr. 14 

Dr. Monica Kay Francis-Warren William June 

Easy to Love Adolphe Menjou - Mary Astor - 

Genevieve Tobin Jan. 

Gambling Lady Barbara Stanwyck Mar. 

Harold Teen Hal LeRoy - Rochelle Hudson - 

Patricia Ellis Apr. 7.. 

He Was Her Man James Cagney-Joan Blondell June 16.. 

Heat Lightning Aline MacMahon-Preston Foster- 
Ann Dvorak-Lyle Talbot Mar. 3.. 

Hi, Nellie! Paul Muni Jan. 20.. 

I've Got Your Number Joan Blondell-Pat O'Brien Feb. 24,. 

Jimmy the Gent James Cagney-Bette Davis Mar. 17.. 

Key, The Edna Best - William Powell - 

Colin Clive June 9.. 

Merry Wives of Reno Glenda Farrell-Margaret Lind- 
say-Donald Woods May 12.. 

Modern Hero, A Richard Barthelmess Apr. 21.. 

Smarty Joan Blondell-Warren William. .. May 19.. 

Upper WorlJ Warren William - Mary Astor- 

Ginger Rogers Apr. 







65. . 









.66.. . 



70. . . 

. May 


.63. . . 









.67. . . 



.71 . . 



64. . . 



.71 ... 









Coming Attractions 

Case of the Howling Dog, The. Warren William-Mary Astor 

Dames Ruby Keeler - Dick Powell - 

Joan Blondell 

Dragon Murder Case, The Warren William 

(See "In the Cutting Room," June 23.) 
Flirtation Walk Dick Powell-Ruby Keeler-Pat 


Friends of Mr. Sweeney Charlie Ruggles-Ann Dvorak. .. .July 28 . . 

(See "In the Cutting Room," May 5) 
Here Comes the Navy James Cagney - Pat O'Brien - 

Gloria Stuart July 21 

Housewife .: George Brent-Bette Davis 

Lady Surrenders, A Jean Muir-George Brent '. 

Lost Lady, A Barbara Stanwyck i ', 

Madame Du Barry Dolores Del Rio-Victor Jory July 14 " 

Personality Kid, The Pat O'Brien-Glenda Farrell July 7 "68 juiie '9 




Adieu Les Beaux Jours. 

Running Time 
Rel. Date Minutes Reviewed 

Star Dist'r 
. Brigltte Helm - Jean 

Gabin Ufa Apr. 21 100 May 19 

Autumn Crocus Ivor Novello-Fay Associated Talk- 

Compton Ing Pictures Apr 14 

Cities of the Desert L. M. B. Films May 26 

End of the World, The... Victor Francen- 

Collette Darfeuil .. Harold Auten Apr. 12 54. Apr 28 

Lash, The Lyn Harding- 
John Mills Radio May 19 

Passing Shadows Edmund Gwenn- 

Barry Mackay ...Fox May 19 

Petterson and Bendel Adolf Jahr-Sammy Scandinavian 

Friedmann Talking Picts. . Jan.. I 148 Mar. 10 

Pledge, The Line Noro • Jean 

Galland Protex Mar. 13 96 Mar. 24 

Red Wagon Charles Bickford - 

Raquel Torres • 

Greta Nissen British Int'I 

Return of Bulldog 

Drummond Ralph Richardson ..British Int'I 67 June 16 

Saint Anthony of Padua. . .Carlo Pinzauti Integrity Film..,, Feb. 8 90 Feb 17 

Secret of the Loeh, The. . .Seymour Hicks- Associated 

Frederick Pelsley. British Films June 16 

Turkey Time Tom Walls - Ralph 

Lynn Gaumont-Brltlsh 71 Mar 24 

Two Orphans, The Yvette Guilfaert - 

Roslne Derean - 

Renee Salnt-Cyr. . Blue Ribbon 

Photoplays Feb.. 6 92 Feb 24 

Volga Volga H. A. Shiletton Kinematrade Dee. I4,'33...76 Jan 6 

Wild Boy Mick the Miller Gaumont- British May 19 



June 30, 1934 



lAll dates are 1934 unless 
otherwise stated"] 



Rel. Date 



Jack and the Beanstalk. ... Dec. 23, '33. .8 

The Little Red Hen Feb. 16 7 

The Brave Tin Soldier Apr. 7 7 

Puss in Boots May 17 I rl . . 

The Queen of Hearts Jiine 25 I rl.. 

Aladdin July 30 I rl . . 



Title Rel. Date 

Elmer Steps Out Feb. 28. . .20. . . 

Walter Catlett 

Fishing for Trouble May 4 2 ris. 

Get Along Little Hubby.. June 15 2rls. 
Hold Your Temper Dec. 15. '33. 20 

Leon Errol „ , 

Plumbing for Gold June 29 2 rIs. 

Sidnty and Murray 
Radio-dough Feb. 5 2 rIs. 

Sidney and Murray 

Stable Mates Apr. 6 2rls. 

When Do We Eat? Mar. 19 2rls. 

Ten Baby Fingers Jan. 26 2 rIs. 

Sidney and Murray 


Autograph Hunter Jan. 5 I rl . . 

Busy Bus Apr. 20 I rl . . 

Bowery Daze Mar. 30 1 rl . . 

Cinder Alley Mar. 9 I rl . . 

Curio Shop. The Dec. 1 5,'33 . .7 . . . . 

Masquerade Party May II I.rl.. 

Southern Exposure Feb. 5 I rl . . 

Tom Thumb Feb. 16 I rl . . 



3_ln South America Dec. 22.'33. . I rl. . 

4 — Among the Nordics Feb. 20 1 rl . . 

5— In India Apr. 20 I rl . . 

6 — In Ethiopia June 15 I rl . . 


No. 5 — Jan. 24 I rl . . 

No. 6— Jan. 24 I rl . . 

No. 7 — Feb. 24 1 rl . . 

No. 8 — Mar. 23 I rl . . 

No. 9 — May 15 I rl . . 



4 — Mickey's Minstrels Jan. 1 1.... 18.... 

5 — Mickey's Rescue Mar. 23 2 rIs. 

6— Mickey's Medicine Man.. May 18 2 rIs. 


No. 3— The Clown Dies Dec. I4,'33..l rl.. 

No. 4— When the Lights 

Went Out Dec. 1 5,'33 . . I rl . . 

No. 5— The Missing Clue. ..Jan. 22 I rl . . 

No. 6 — Hidden Evidence. ... May 30 I rl . . 

No. 7— One Way Out June 15 I rl . . 


No. 3 — School for Romance. Jan. 31 2 rls. 

Lou Holtz 

No. 4 — Love Detective Feb. 28 2 rls. 

Frank Albertson 

No. 5 — Women Haters May 

No. 6 — Susie's Affair June 


Auto Show Dec. 

Aw. Nurse Mar. 

Scr'appy's Art Gallery ...Jan. 12 I rl . 

Scrappy's Dog Show May 18 1 rl. 

Scrappy's Relay Race July 7 I rl.. 

Scrappy's Television Jan. 29 I rl . . 

Scrappy's Theme Song ....June 15.,...! rl . . 
Scrappy's Toy Shop Apr. 13 I rl . . 


No. 2 Dec. I4.'33. .1 rl . . 

No. 3 Jan. 18 I rl.. 

No. 4 Feb. 7 I rl . . 

No. 5 Feb. 18 I rl . . 

No. 6 Mar. 16 I rl.. 

No. 7 Apr. 24 I rl . . 

No. 8 May 18 I rl . . 

No. 9 June 8 I rl. . 


Cyclomania May 30 I rl . . 

Dumb Champs Apr. 20 I rl.. 

Harnessed Lightning May 17 I rl . . 

Heigh-Ho the Fox I rl . . 

It's Sport in Any Language. Dec. 30. '33.. I rl . . 

What Price Speed Dec. 2.'33..lrl.. 

Winter Thrills Feb. 4 I rl . . 


Title Rel. Date Min. 


1. Veiled Dancer of Eloued.JuIy 15. ...10... 

2. Vampire of Marrakesh. ..Aug. I 9... 



Bride of Samoa Mar. I.... 26... 

Dawn to Dawn Dec. 25,'33.35... 

Julie Hayden 
Frankie and Johnny Apr. 15 8... 

Charles Laughton 
Lot in Sodom Dec. 25,'33.26... 

Frederic Haak 

No Woman's Land Apr. 15 34... 


5 2 rls. 

I 2 rls. 

9. . . . 

I rl. 


[Distributed through Fox Films] 

Title Rel. Date Min. 


An Old Gypsy Custom Jan. 12 18 

Half Baked Relations June I 19 

Hello Prosperity Apr. 20 18 

Super Snooper, The Feb. 9.... 20.... 

Gimme My Quarterback ... Jan. 26 9.... 


Born to Die Mar. 16 8. . . 

City of Wax Feb. 9 9... 

Nature's Gangsters June 15 I rl . 

Spotted Wings June 8 I rl . 

Good Bad Man, The Dec. 

.20. . . 

.20. . . 
. 19. . . 

Hotel Anchovy Apr. 13... 

Inventors. The Feb. 2... 

North of Zero Jan. 19. . . 


Managed Money Feb. 23... 

Pardon My Pups Jan. 26... 


(Harry Langdon) 

No Sleep on the Deep Apr. 6.... 21.... 

Pop's Pal Dec. 29, '33. 18 

Trimmed in Furs Jan. 5. ...18.... 


Freeze-Out, The Dec. 22,'33.I9 ... 


Elopement .June 29 2 rls. 

Going Spanish Mar. 2 ... 21.... 

Poppin' the Cork Dec. 15, '33. 25 


Canyon of Romance Dec. 8, '33. 10.... 

Lost Race, The Apr. 13 8 

Mediterranean Blues ..Feb. 23 9.... 

Paradise of the Pacific .... J une I 9.... 


Doctor. The Feb. 23 8 

Trav'lling the Road Feb. 9 9.... 

Alexander Gray 


Allez Oop May 25 21 

Expectant Father, The Feb. 16... 21 

Gold Ghost, The Mar. 16... 21... 

Love and Babies June 29 2 rls. 


Busted Blossoms Aug. 10 1 rl . . 

Holland Days Jan. 12 6 ... 

In Venice Dec. 15, '33. ,6. . . . 

Irish Sweepstakes July 27 I rl . . 

Joe's Lunchwagon Apr. 6 6.... 

Just a Clown Apr. 20 6 

King's Daughter, The May 4 6.... 

Last Straw, The Feb. 23 6 

Lion's Friend, The May 18 6 

Mad House, A Mar. 23 6 

My Lady's Garden July 13 I rl . . 

Owl and the Pussycat, The. Mar. 9 6 

Pandora June I 6. . . . 

Rip Van Winkle Feb. 9 6 

See the World June 29 I rl . 

Slow But Sure June 15 6 

Sunny South, The Dec. 29,'33. .6. . . . 

Three Bears. The Jan. 26 6.... 



Big Meow, The Mar. 9 19. 

Good Scout, A Apr. 27 18. 


Air Maniacs Dee. 15, '33. II. 

Bosom Friends Mar. 30 8. 

Day Dreams Dec. 8, '33. II. 

Hula Honeymoon Mar. 2 7. 

Pagliacci Apr. 6 II. 

What Does 1934 Hold? Dec. 22. '33.1 1. 


Title Rel. Date Mi 


Answering the Riot Call!... Dec. 22, '33.. 9. 

Outdoing the Daredevils. ... Mar. 2 9. 

With the Navies of the 

World Mar. 23 9. 

On Western Trails Apr. 13.. ...9 

Chasing the Champions May 18 9. 


Gem of the Sea Dec. I5,'33..9. 

Rural England Dec. 22,'33. .9. 

London Medley Dec. 29, '33.. 9. 

Flemish Folk Jan. 5 9. 

Tunisian Travels Jan. 19. 

Sentinels of the Sea Jan. 26. 

Roaming the Netherlands. . . Feb 9. 

Under Moroccan Skies Feb. 16. 

A Journey in Flanders Feb. 23. 

Fortunate Isles Apr. 13. 

in Java Sea Apr. 27. 

The Land of Bengal May II. 

The Rock of Gibraltar May 25. 

City of the Golden Gate... June 8. 
A Journey to Guatemala. .. June 22. 


Helen of the Chorus Dec. I0,'33.10. 

The Extravagant Wife Jan. 5.... 10. 

The Girl from the Country. . Jan. 19 10. 

Emma's Dilemma Feb. 2 10. 

Love's Old Sweet Song. ...Feb. 16 10. 

The Heart of Valeska Mar. 9 10. 


Title Rel. Date Min. 

HUMAN SIDE OF (Variable) 

1. Roosevelt Family in 

America II..,. 

2. A Visit to West Point 10 

3. Carrie Jacobs Bond 9.... 


Sammy Fain 7. . . . 

Cliff Friend 9 

Benny Davis 8.... 

Gus Edwards 9 

Stephen Foster 10.... 

Fields and McHugh 9 

Carrie Jacobs Bond 9.... 


Songs of the Hills 6. . . . 

Sally 7 

Night of Romance 7.... 

Tongue Twisters 7.... 

Ship of Dreams 7.... 

Melody on Parade 7.... 

Home Again 8. . . . 

Tintypes 6 . . . . 

Oriental Phantasy 8.... 

Organ Festival 9. . . . 

Melody Tour 8. . . . 

Organlogue-ing the Hits 8 ... 

Melodies of Love 8. . . . 

Songs of the Range 6.... 

Rhapsody in Black I rl . . 

Wine, Woman and Song I rl . . 

Eili Eili I rl. . 


Spilled Salt 10 

Phyllis Barry-Geo. Lewis- 
J. Carrol Naish 


She Whoops to Conquer 2 rls. 

ZaSu Pitts-Billy Bevan- 
Daphne Pollard 


Rel. Date 



Rel. Dat* 



Caretaker's Daughter Mar. 10 10.. 

Mixed Nuts Feb. 17 19.. 

Movie Daze 19.. 

Mrs. Barnacle Bill Apr. 21 20.. 

Next Week-End Feb. 24 16.. 

Twin Screws Dec. 23,'33 . 1 9 . . 


Another Wild Idea June 16.. 

Cracked Iceman Jan. 27.. 

Four Parts Mar. 17.. 

I'll Take Vanilla May 5.. 

It Happened One Day July 7. 

Luncheon at Twelve Dec. 

Speaking of Relations. 

. 19. . . . 







British Guiana Dec. 16,'33..9 

Colorful Ports of Call Jan. 13 9 

Cruising in the South Seas I rl . . 

Day in Venice Dec. 2, '33.. 9 

Egypt, Kingdom of the Nile. May 19 10 

Glimpses of Erin I rl . 

Italy, Land of 1 nspiration . . Feb. 24 9.... 

Temple of Love, "The 10.... 

Tibet, Land of Isolation Mar. 17 9. .. 


No. I Dec. 23, '33. .9 

No. 2 Feb. 24 10 

No. 3 Mar. 24 10 

No. 4 May 5 9 

No. 5 


Going Bye-Bye 2 rls. 

Oliver the Eighth Jan. 13 28 


Apples to You Apr. 7 20 

Benny from Panama May 26....I9.... 

Duke for a Day, A May 12 20 

Music in Your Hair June 2....I7.... 

Roamin' Vandals Apr. 28 19 


Big Idea. The May 12 20 

Jail Birds of Paradise Mar. 10. ...18 


Gentlemen of Polish 2 rls. 

Roast Beef and Movies... Dec. 2,'33.I7 

What Price Jazz? 18 

.10. . 
. .7. . 
. .8. . 


Attention, Suckers! June 9. 

Flying Hunters May 12. 

Little Feller May 26. 

Nipups Apr. 28. 

Old Shop June 23 9. 

Pichianni Troupe I rl . . 

Pro Football I rl . . 

Roping Wild Bears Feb. 10 9 

Trick Golf Mar. 24. . 

Vital Victuals Mar. 3.. 



First Roundup, The May 5.. 

For Pete's Sake Apr. 14.. 

HI, Neighbor ,...Mar. 3.. 

Honky-Donkey June 2.. 

. 10. 

. 19. . . 
. 18. . . 
. 18. . . 


Air Fright Dec. 23, '33. 19 

Babes in the Goods Feb. 10 19 

I'll Be Suing You June 23 19 

Maid in Hollywood May 19 20 

Soup and Fish Mar. 31 18 

Three Chumps Ahead 2 rls. 

.Feb. 17 7 



Davy Jones' Locker Jan. 13. 

Hell's Fire 


Insultin' the Sultan Apr. 14 8. .. 

Rasslin' Round 

Reducing Cremo May 19 8 

Robin Hood, Jr Mar. 10 B 


Spite Flight Dec. 2.'33..8 

Stratos-Fear Dec. 16. '33.. 8 


Title Rel. Date Min. 


1. The Seventh Wonder. .. Dec. I, '33 10... 

2. City of the Sun Jan. I 10. . . 

3. Love's Memorial Feb. I 10... 

4. Children of the Nile. ..Mar. I 10... 

5. The Peacock Throne. .. Apr. I 10... 

6. Jungle Bound May I 10... 

7. The Last Resort June I 10... 

8. Mother Ganges July 1 10... 

9. The First Paradise. .. .Aug. I 10... 

10. Dravidian Glamor Sept. I 10... 

11. Adventure Isle Oct. I 10... 

12. Queen of the Indies. .. Nov. I.... ID... 

13. A Mediterranean Mecca. Dec. 1....I0... 



Rel. Date 


Betty Boop's Life Guard . July 13.. 
Betty Boop's Rise to Fame. May 18.. 

Betty Boop's Trial June 15.. 

Betty in Blunderland Mar. 2.. 

Dancing on the Moon July 13.. 

Ha! Ha! Ha! Mar. 2.. 

Parade of Wooden Soldiers. Dec. I, '3 

Red Hot Mamma Feb. 2.. 

She Wronged Him Right.. Jan. 5.. 


All on Deck Mar. 30. 

Broadway Knights Feb. 23. 

Yacht Club Boys 
Little Jack Little Revue... May II. 

Little Jack Little and 

Orchestra - Gypsy Nina - 

Do Re Mi Trio 
Mr. W's Little Game June 8. 

Alexander Woollcott 
New Deal Rhythm Apr. 13.. 

"Buddy" Rogers 

Station T.O.T Jan. 19. . 

Underneath the Broadway 

Moon June 29. 

Isham Jones and Orches- 
tra-Eton Boys 
Where's That Tiger? Dec. 22,'; 

Borrah Minnevitch 


No. 5 Dec. 8,' 

No. 6 Jan. 5. 

No. 7 Feb. 2. 

No. 8 Mar. 2. 

No. 9 Mar. 30. 

No. 10 Apr. 27. 

No. II May 25. 

No. 12 June 22. 

No. 13 July 20. 


No. 5— The Old Mill- 
Jack Frost, Master Dec- 
orator — Song Makers of 
the Nation Dec. 1,' 

No. 6 — Southward Ho — 
Trees — Gilda Gray Dec. 29,' 

No. 7 — Queer Fish — Liquid 

Air — Lanny Ross Jan. 26. 

No. 8 — Sponging on Old 
Nassau — What Next, 
Ladies? — Song Makers of 
the Nation, Gordon and 
Revel Feb. 23. 

No. 9 — Song Makers of the 
Nation. Lewis and Sher- 
man — Winter — Meshie, 
Child of a Chimpanzee . Mar. 23 

No. 10 — >lere's How — A 
House for a Song — Song 
Makers of the Nation, 
Con Conrad Apr, 20. 

No. II — More or Less — The 
Eyes of Science — Song 
Makers of the Nation, 
Ralph Rainger May 18. 

No. 12— June 15 

No. 13— July 13 

.1 rl. 

.7. . . 



.1 rl . 
. .9. . . 


33.11 . 




Can You Take It Apr. 27 7... 

Let's You and Him Fight. .Feb. 16 7... 

Man on the Flying Trapeze, 

The Mar. 30 7... 

Seasin's Greetinks Dec. 8,'33..6... 

Shiver Me Timbers July 27 1 rl. 

Shoein' Hosses June I 7... 

Sock-a-Bye Baby Jan. 19 7... 

Strong to the Finich June 29 i rl. 

Wild Elephinks Dec. 29,'33 . .7. . . 


Keeps Rainin' All the Time. Jan. 12. ...10... 

Gertrude Niesen 
Lazybones Apr. 13 7... 

Borrah Minnevitch 
Let's All Sing Like the 

Birdies Sing Feb. 9 8... 

Love Thy Neighbor July 20 I rl. 

May Small 

Sing, Babies, Sing Dec. 15, '33.. 9... 

Baby Rose Marie 

June 30, 1934 




-jitie Rel. Date Min. 

This Little Piggie Went 

to Market May 25 7... 

Singin' Sam « •» 
Tune Up and Sing Mar. 9 7... 

Lanny Ross 

No. 5 Dec. 15,' 

So: 8 9. 

tin 9 ^I"^' 

So. 10 :; May i 

ilo M June I. 

J!„ 3 ■■ June 29. 

h': 13 j-'y 27, 


Two Editions Weekly 


No. 6— Around the Calendar. Dec. 22, 

No. 7— Jumping Giants Jan. 26. 

fgo. 8 — Horsepower Feb. 16. 

No. 9 — Flying Bodies Mar. 23 

No. 10 — Animal Antics Apr. 13. 

No. 1 1 — Marine Marvels ...May II. 

No. 12 — Lucky Anglers June 8. 

No. 13 — Good Shape July 6. 

Circus Hoodoo Feb. 16. 

Harry Langdon 
Cold Turkey Dec. I, 

Joseph Cawthorn 
Gold Nuggets FeB. 2 

Walter Catlett 
Just an Echo Jan. 19 

Bing Crosby 
Making the Rounds July 6 

New Dealers, The Apr.. 6 

News Hounds June I. 

No More Bridge Mar. 16. 

Leon Errol 
Oil's Well May 4. 

Chic Sale 
Old Bugler, The.. Jan. 5 

Chic Sale 

Petting Preferred Apr. 27... 

Please Dec. I5,'33 

Bing Crosby 
Roaming Romeo, A Dec. 29,33 

Harry Langdon 
U p and Down Mar. 2. . . 

Frank Pangborn 

.10. . . 
. 10. . . 

.21 . 

.21 . 
.21 . 



21 . 
21 . 


Title Rel. Date 

City of Contrasts Nov. 22,'33 

Newslaugh— No. 2 Dec. 20,'33. 

Wonders of the Tropics Dec. I3,'33. 


Circle of Life of the Ant 

Lion, The Feb. 14 

From Cocoon to Butterfly. . .Jan. 10 

Her Majesty, the Queen 

Bee Dec. I, '33. 

Insect Clowns Mar. 4 

Queen of the Underworld ... Dec. 6, '33. 





Rel. Date 




Lion Tamer, The... 
Rasslin' Match, The 



Bridal Bail Feb. 9. 

Rough Necking Apr. 27. 

Undie World, The June 15. 

Walking Back Home Dec. 8,' 


SERIES (Re-issues) 

The Immigrant Jan. 19. 

One A.M Mar. 23. 

Behind the Screen May 25. 



Bedlam of Beards Apr. 13. 

Hey Nanny, Nanny Jan. 12. 

In the Devil Dog House... Feb. 2. 

Love and Hisses June 8. 

Odor in the Court Aug. 2 



Croon Crazy Dec. 29, 

Cubby's Stratosphere Flight. Apr. 20. 

Galloping Fanny Dec. I,' 

Good Knight Feb. 23. 

How's Crops Mar. 23. 

Mild Cargo May IS. 

Sinister Stuff Jan. 26 



Cracked Shots May 4. 

Strictly Fresh Yeggs Apr. 6. 

Suits to Nuts Dec. I, 


No. 2 — Air Tonic Dec. 22, 

No. 3 — On Approval Jan. 5. 

No. 4 — Autobuyographv . . ..Mar. 16 
No. 5— The Old Maid's 

Mistake May II 

No. 6— Well Cured Ham. ..June 23 




Grin and Bear It Dec. 29, 

In-Laws Are Out June 29 

Love on a Ladder Mar. 2 

Wrong Drrection May 18 




33 . 1 9 



. .2 ris. 

. ..21 ... 


33. .7... 
33. .61/2 . 




33.21 ... 
. . . 17. . . 

. . .20. . . 


Title Rel. Date 

Bubbling Over Jan. 5 

Ethel Waters 

Everybody Likes Music Mar. 9 

Henry the Ape Jan. 26 

Bert Lahr 
Knife of the Party Feb. 16 

Lillian Miles 
No More West Mar. 30 

Bert Lahr 

Sea Sore Apr. 20 

Strange Case of Hennessy. . Dec. 8, 

Cliff Edwards 

(Ruth Etting) 

California Weather Dec. 15, 

Derby Decade July 12 

Torch Tango Feb. 23 

Released twice a week 

Released once a month 


Art for Art's Sake May II 

Cactus King June 8. 

Jest of Honor Jan. 19 

Jolly Good Felons Feb. 16 

Pals Dec. 22, 

Royal Good Time, A Apr. 13 

Sultan Pepper Mar. 16 

Grand National Irish 

Sweepstake Race, 1934. ...Apr. 2 
So This Is Harris Jan. 19 


Gibraltar, Guardian of the 

Mediterranean May 4 

Holy Land Feb. 16 

Madeira, Land of Wine.... Mar. 30 
Moorish Spain Jan. 12 

..2 rIs 


2 rIs 


. . .22. . . 

. . . . I rl . 


33.. 71/2. 

. .10... 
. .28. . . 





Title Rel. Date Min. 


1. Giant Land Nov. 15, '33. .7... 

2. Mickey Shanghaied ....Jan. 15 7... 

3. Camning Out Feb. 16 7... 

4. Playful Pluto Mar. 16 7... 

5. Gulliver Mickey May 19 9... 

6. Mickey's Steamroller 7... 


1. The Night Before 

Christmas Dec. I5,'33..8... 

2. The China Shop Jan. 15 8... 

3. Grasshopper and the 

Ant. The Feb. 23 8. . . 

4. Funny Little Bunnies ... Mar. 30 9... 

5. The Big Bad Wolf ... .Apr. 20 9... 

6. The Wise Little Hen. ..June 7 I rl . 


Title Rel. D 


No. 3 Dec. 

No. 4 Jan. 

No. 5 Mar. 

No. 6 Mar. 

No. 7 Apr. 


Annie Moved Away May 

Candy House, The Jan. 

Chicken Reel Jan. 

Chris Columbo, Jr July 

County Fair Feb. 

Ginqerbread Boy Apr. 

Goldilocks and the Three 

Bears May 

Kings Up Mar. 

Parking Space Dec. 

Toy Shoppe, The Feb. 

Wax Works, The June 

William Tell July 

Wolf, Wolf Apr. 

Boswell Sisters, The Dec. 

Nick Kenny — No. 4 



No. 35 — Novelty Dec. 

No. 36 — Novelty lan. 

Slo. 37— Novelty Feb. 

No. 38 — Novelty Apr. 

No. 39 — Novelty May 

Beau Bashful June 

Herbert Corthell 
Born April First Mar. 

Sterling Holloway 
Broadway Varieties Feb. 

(Menton.. No. 7) 
Ceiling Whacks Mar. 

Henry Armetta 
Ed Sullivan's Headliners. . May 

(Mentone No. 10) 
Financial Jitters July 

Eddie Nugent- 

Grady Sutton 
Full Coverage Feb. 

Henry Armetta 
Good Time Henry May 

Henry Armetta 
Heartburn Apr. 

Sterling Holloway 

Just We Two Aug. 

Meeting Mazie Dec. 

Sterling Holloway 
Mountain Music Jan. 

Louise Fazenda 
Out of Gas Nov. 

Louise Fazenda 
Palsie Walsie Jan. 

Henry Armetta 

25. '33. 
29. . . . 
5. . . . 
19. . . . 

10. . . 
.9. . . 
.8. . . 
.9. . . 
.9. . . 

.9. . . 
. I rl. 
.7. . . 
.6. . . 

14. . . 
12. . . . 

18, '33 

19. . . 


2. . . 



23 ... . 
21 ... . 

. .2 rIS 
.21 . . . 
.20. . . 
.20. . . 
. 20 . . . 
. .2 rIs 

II . 

3. . . 


.21 ... 

.20. . . 

. 20 . . . 

.2 rIs 
20. . . 


21 . . . 

20. . . 

Title Rel. Date Min 
Pest, The Apr. 18 19. . 

(Mentone No. 9) 
Picnic Perils .July 18 2 rIs. 

Sterling Holloway 
Pie for Two Dec. 13, '33. 21 . 

James Gleason 
Pleasing Grandpa June 20 20. 

Sterling Holloway 
Soup for Nuts .June 27 2 rIs 

(Mentone No. II) 
Supper at Six .Dec. 27, '33. 18... 

(Mentone No. 5) 
There Ain't No Justice May 23 19... 

Corthell and Hurst 
Trifle Backward, A Jan. 17 l9'/2. 

Vince Barnett 
Vaudeville Days Mar. 21 21... 

(Mentone No. 8) 
Vaudeville on Parade Jan. 24.... 20... 

(Mentone No. 6) 
Where's Elmer? Feb. 7 20... 

Vince Barnett 


Title Rel. Date 11 


No. 6 — Here Comes Flossie . Dec. 

Ben Blue 
No 7 — Tomalio Dec. 

Roscoe (Fatty) Arbuckle 
No. 8— How D'Ya Like 

That? Jan. 

George Givot-Chas. Judels 
No. 9 — Nervous Hands Feb. 

Ben Blue 
No. 10 — Pugs and Kisses. .. Mar. 

Charles Judels 
No. II — Mushrooms Feb. 

Harry Gribbon 
No. 12 — Foiled Again Mar. 

Ben Blue 
No. 13 — Very Close Veins. Apr. 

Ben Blue 
No. 14 — Corn on the Cop... Apr. 

Harry Gribbon 
No. 15 — I Scream May 

Gus Shy 
No. 16 — Salted Seanuts ....June 

Cha- Judels-George Givot 
No. 17 — The Prize Sap.... June 

Ben Blue 
No. 18 — Art Trouble June 

Harry Gribbon 
No. 19 — My Mummy's Arms. July 

Harry Gribbon 
No. 20 — Daredevil 0' Dare ... Aug. 

Ben Blue 

No. 9 — Girl Trouble Dec. 

Mitchell and Durant 
No. 10 — Around the Clock.. Jan. 

Norma Terris- 

Four Eton Boys 
No II — Plane Crazy Dec. 

Dorothy Lee-Arthur and 

Mo-'in UavBl 

No. 12 — Kissing Time Dec. 

Jane Froman- 

George Metaxa 
No. 13— A Little Girl with 

Big Ideas Jan. 

Molly Picon 
No. 14 — Not Tonight, Jo- 
sephine Jan. 

Frank McHugh-Kitty 

Kelly (Technicolor) 
No. 15 — Picture Palace 

Hal LeRoy 
No. 16 — Come to Dinner 
No. 17 — Business Is a 

Pleasure Mar. 

No. 18 — Look for the Silver 

Lining Mar. 

Dorothy Stone 
No. 19— Let's Play Post 

Office Mar. 

Jean Sargent 
No. 20 — Story Conference. 

Lillian Roth 
No. 21 — Morocco Nights.. 

No. 22 — Private Lessons.. 

Hal LeRoy 
No. 23 — Masks and Memo 


Lillian Roth 
No. 24 — Murder in Your 

Eyes May 

No. 25 — Service with a 

Smile July 

Leon Errol 

No. 26 — Darling Enemy June 

Gertrude Niesen 
No. 27— Who Is That Girl?. June 

Bernice Claire- 

J. Harold Murray 
No. 28 — King for a Day... June 

Bill Robinson 
No. 29 — The Song of Fame. July 

Ruth Etting 
No. 30— The Winnah July 

Arthur and Florence Lake 
No. 31 — The Mysterious 

Kiss Aug. 

Jeanne Aubert 
No. 32 — The Policy Girl Aug. 

Mitzi Mayfair- 

Roscoe Ails 

No. 3 — Budy's Show Boat.. Dec. 

No. 4 — Buddy the Gob Jan. 

No. 5 — Buddy and Towser. Feb. 

No. 6— Buddy's Garage Apr. 

No. 7 — Buddy's Trolley 

Troubles May 

No. 8 — Buddy of the Apes. May 
No. 9 — Buddy's Bearcats. . June 
No. 10— Buddy the Woods- 

Borrah Minnevitch and His 

Harmonica Rascals Dec. 

9, '33. 18. 
30,'33.2I . 


. Apr. 

. May 


13. . . 

18 . . . 

3. . . 


10. . . 


17. . . 

20. . . . 

24. . . 


14. . . 

20. . . . 

28 . . . 


19. . . 


2. . . 

20 ... . 

23. . . 


23. . . 

20. . . . 

28 . . 



19. . . . 



16. . . 




20 . . . 

29. . . . 



10. . . 



2 1 

3. . . 


17. . . 


31 ... 




21 . . . 


5. . . 

22 ... . 

12. . . 


26. . . 




9. . . 


16. . . 


30. . . 


7 ... 


21 . . . 


4. . . 



20. . . . 




.7 .... 

24. . . 

.7 .... 








.7 .... 

1 rl.. 




Title Rel. Date 

Jack Denny and Band Jan. 20. 

Mills Blue Rhythm Band ... Feb. 17. 

Vincent Lopez Mar. 17. 

A Big City Fantasy Apr. 14. 

Phil Spitalny 

Isham Jones May 12. 

Tin Hat Harmony June .6. 

Abe Lyman 

A Jolly Good Fellow July 9. 

B. A. Rolfe 

Ben Pollock and Band Aug. 4. 

Sitting on a Back Yard 

Fence Dec. 16. 

Petti n' in the Park Jan. 27... 

Honeymoon Hotel Feb. 17... 


Beauty and the Beast Apr. 14... 

Those Were Wonderful Days. Apr. 26... 
Coin' to Heaven on a Mule. May 19... 
How Do I Know It's Sun- 
day? June 9... 

Why Do I Dream Those 

Dreams? June 30. . . 



Italy, the Old and the New. Dec. 9, '33 

Cannibal Islands Jan. 6... 

Spanish Ameria Feb. 3... 

Jerusalem, the Holy City... Mar. 3... 

Picturesque Siam Mar. 31... 

Slackers of the Jungle Apr. 28... 

East Indies May 26... 

Central America June 23... 

Dark Africa Aug. II... 

A Visit to the South Sea 

Islands July 21 . . . 

( Reissues) 

Gangway Apr. 14... 

Making Good Apr. 21 . . . 

You Nasty Man Apr. 28... 

(formerly "Here Prince") 

Service Stripes May 5... 

Where Men are Men May 12... 

A Stuttering Romance May 19... 

Toreador May 26... 


No. 7 — Easy Aces Dec. 2, '33 

No. 8— Little Miss Mis- 
chief Dec. 6, '33 

No. 9 — Movie Memories. . . Dec. 30, '33 

No. 10 — The Tune Detective. Jan. 13. 

Sigmund Spaeth 

No. I I — Mississippi Suite. .Jan. 27. 
No. 12— The Wrong Wrong 

Trail Feb. 10. 

Block and Sully 
No. 13 — Song Hits, with 

Roy Turk Feb. 24. 

No. 14 — Easy Aces, No. 2. Mar. 10. 

No. 15 — Pure Feud Apr. 21. 

Edgar Bergen 

No. 16 — A Cabinet Meeting. Apr. 7. 

Radio Ramblers 

No. 17 — Just Concentrate. . June 2. 

Lulu McConnell 
No. 18 — Those Were the 

Days May 5. 

No. 19 — Radio Reel No. I.. May 19. 

Jessel- Van 

No. 20 — Penny a Peep June 30. 

No. 21 — Hollywood Newsreel. Mar. 24. 

No. 22 — Radio Reel No. 2.. June 16. 
No. 23— Dad Minds the 

Baby July 14. 

No. 24 — Bergen in at the 

Races July 21. 

No. 25— The Stolen Melody. July 28. 

No. 26 — Camera Speaks... Aug. II. 

10. . . 
10. . . 







.2 rIs. 
. I rl.. 
.2 rIs. 

. I rl . . 
.2 rIs. 
.1 rl.. 
.2 rIs. 



Title Rel. Date Min. 


Young Eagles July I 2 rIs. 

Boy Scouts (each) 


Burn 'Em Up Barnes 

Jack Mulhall-Lola Lane- 

Frankie Darro 
Lost Jungle, The Apr. I. ...20.... 

Clyde Beatty (each) 
Mystery Squadron, The Dec. 23, '33. 20 

Bob Steele (each) 
Wolf Dog, The Sept, 30, '33. .2 rIs. 

Rin Tin Tin, Jr.-Frankie (each) 

Darro- Boots Mallory 


Chandu Sept 2 rIs. 

(8 episodes) (each) 
Tarzan, the Fearless Aug. 1 1 ,'33 .20 . . . . 

Buster Crabbe (each) 


Gordon of Ghost City Aug. 14, '33. 20 

Buck Jones-Madge Bellamy (each) 

Perils of Pauline Nov. 6, '33. 20.... 

Evalyn Knapp-Robt. Allen (each) 

Pirate Treasure Jan. 29.... 20.... 

Richard Talmadge- (each) 

Lucille Lund 
Red Rider, The July 16 20 

Bu^ Jones (each) 

(15 episodes) 
Vanishing Shadow, The.... Apr. 23 20 

Onslow Stevens-Ada Ince (each) 



June 30, 1934 


the great 
national medium 
for showmen 

Ten cents per word, money-order or check with copy. Count initials, box nunnber and address. Minimunn insertion, 
$1. Four insertions for the price of three. Contract rates on application. No borders or cuts. Forms close 
Mondays at 5 P.M. Publisher reserves right to reject any copy. Address correspondence, copy and checks to 
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chairs. All accessories. Slip covers. Servastone for 
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ALLIED SEATING CO., 358 W. 44th St., New York. 

chairs, Sound Equipment. Moving Picture Machines, 
Screens, Spotlights, Stereopticons. etc. Projection 
Machines Repaired. Catalogue H free. MOVIE 
SUPPLY COMPANY, Ltd., 844 So. Wabash Ave., 

blowers; noiseless drives; hydraulic variable speed 
pulleys; air washers. Catalogue mailed. SOUTHERN 
FAN CO., Box 440, Atlanta, Ga. 

holstered and veneer theatre chairs at reasonable prices. 
1018 So. Wabash Ave., Chicago, 111. 

teed rebuilt Simplex projectors with Peerless re- 
flector lamps and Garver rectifiers. Equipment like 
new. Free theatre record sheets. MONARCH 
THEATRE SUPPLY CO., Memphis, Tenn. 

standard items — Simplex, Peerless, Strong, Brenkert, 
Forest, Hertner, Operadio. Sacrifice prices. Lists 
mailed. S. O. S. CORP., 1600 Broadway, New York. 

plete Simplex machines, $375; Morelite deluxe lamps, 
$125 pair; Peerless low-intensity, $200 pair; More- 
lite junior used three months, $160 pair; sound 
screen 35c per square foot; pair half size lenses, 
5-inch focus and up, $35; American Safe for 10 reels, 
cost $400 — $120. Let us quote you on any equipment 
or supplies. CROWN, 311 W. 44th St., New York. 


projectors — mechanisms — reflector arc lamps — genera- 
tors — Mazda lamphouses and regulators — lenses — recti- 
fiers — portables — All booth equipment. Give all details. 

350 spring bottom upholstered chairs. Simplex pro- 
jectors, 20-40 generator, low intensity lamps, sound 
screen, rewinder film cabinet, etc., must be in 
excellent condition. Name price and terms. EARLE 
HENDREN, Greeneville, Tenn. 


and theatre advertising. Big opportunities for trained 
men. Catalog free. THEATRE MANAGERS IN- 
STITUTE, 315 Washington St., Elmira, N. Y. 


tion — only $99.85 — our special transformer plus your 
low intensity does it. S. O. S. CORP., 1600 Broad- 
way, New York. 


of small town theatre needs any kind of a job. Can 
do anything around a theatre from buying of him to 
servicing sound equipment. Address BOX 412. 

Reasonable salary. Anywhere, REECE COLLIER, 
Albertville, Ala. 


Wisconsin, 1,000 population, draws from five other 
towns, seats 250 — two shows every night, new equip- 
ment, RCA sound— priced right. H. R. KNOWER. 
Hillsboro, Wis. 

tion 6,500. Nearest theatre 16 miles. Seats 550. 
Stage handles any stage-show. Nets $10,000 annually. 
Payroll town. Seaport, shingle, lumber, pulp mills, 
canneries, farming. Sell equity $10,000, half cash, 
balance like rent. Must sell. California business re- 
quires personal attention. BUD BENSON, Empire 
Theatre, Anacortes, Washington. 

nights a week, 23 miles from Washington. Nice town, 
good business, priced right. An opportunity! T. 
EDGAR REED. Herndon, Va. 

of Michigans playground, for sale or lease. ED. 
DONALDSON, Brooklyn, Mich. 


uim" in three volumes. Universally accredited as the 
Ipcst and most practical. Aaron Nadell's "Projection 
S. lund Pictures." Complete information on sound 
ec|iiipment. Both text books complete for $12.80 
QUfGLEY BOOKSHOP, 1790 Broadway, New York. 


placed with nickel inserts. Write for prices. BOX 


100 WINDOW CARDS, 14 x 22. 3-COLORS $3 75 
cafh. BERLIN PRINT, Berlin, Md. 


cooling fans purchased from government for sale 
cheap. "Sirocco" cooling fan, including a housing 
approximately 50" long, 37" high and 21" wide. 
Within housing is a 64-blade, 24" diameter by 12" 
wide, fan mounted on steel shaft with an SKF or 
equal #1308 radial ball bearing on each end. Driving 
shaft equipped with one double "V" type cast iron 
pulley 8" in diameter, with 2^4" face. Net weight, 
300 lbs. J. ROSENBAUM & SON, Centerville, Iowa. 

S. O. S. Wide Fidelity sound, $179.70 up complete! 
Soundheads, $49.50 up; unified control amplifier, 
$55.00 up. Trades taken. S. O. S. CORP., 1600 
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Cinephor — other makes. Series I and II. Trades ar- 
Memphis, Tenn. 


Glenn Nicholson, Indianapolis. "Working fine, low 
cost, low upkeep, perfect results!" Good sound costs 
little. Ask S. O. S. CORP., 1600 Broadway, New 


opticals with 9,000 cycle test loop, all instructions 
$1.50. Trade old opticals for Wide Range, $19.75, 
liberal allowances. S. O. S. CORP., 1600 Broadway, 
New York. 


fifteen hundred or more, with view to future pur- 
chase, best references. Give full details. BOX 417, 

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first -run towns or good neighborhoods. Must stand 
rigid investigation. BOX 418, MOTION PICTURE 


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50 per cent on Brushes and Supplies. DICK BLICK 
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EASTMAN Super-sensitive Panchro- 
matic Negative has a three-fold dis- 
tinction. Its introduction has led to more 
significant advances than any other film 
...excepting only Eastman's original motion 
picture negative. Under the expert hands of 
the cameraman it has in the last three years 
photographed a great majority of the big- 
gest screen hits. And... because of this rec- 
ord of accomplishment. now enjoys by 
far the widest preference among all motion 
picture negative films. Eastman Kodak Co. 
(J. E. Brulatour, Inc., Distributors, New 
York, Chicago, Hollywood.) 

EASTMAN Super-sensitive 
Panchromatic Negative 



JUNE 30. 1934 

Constructing Theatre Advertising 


A Fact-Finding System to Guide You 


The Selection of Acoustic Materials 


In 2 Sections — Section 2 




The Converter shown with the lamp above is 
the complete power plant. Nothing else is re* 
quired except a small power line capable of 
carrying only 12 to 15 amperes. Generator 
and irheostat rooms are a thing of the past. 
The converter is cool and noiseless. Long life 
is given to the tubes by the STERLING sys^ 
tem of forced air cooling. 12 changes of cur- 
rent are provided by the dial switch. Merely 
turn the knob. 

We are represented nationally by indepen- 
dent theatre supply dealers in all key cities. 
Let your dealer tell you more about the 

For Further Information Write 

f rniettinn ffiantp 

A great many theatres throughout the coun- 
try are removing their high-intensity lamps, 
generators and rheostats and replacing them 
ING CONVERTERS, reaUzing that they have 
been throwing money away in high power 
and carbon bills. 

Amply powerful for the large theatre and suffi- 
ciently economical for the small house, this 
combination uses only 2800 watts of power 
(2.8 KW) and produces a flood of brilliant, 
pure white light, equal or superior to high in- 
tensity at only a fraction of the cost of oper- 
ion. The converter has a current output of 
65 Amperes. 

which is a radical improvement over our 
previous model which we have had on the 
market for over a year is equipped with a 12" 
Pyrex reflector and is designed to operate at 
a current of from 46 to 55 amperes. It is con- 
ceded to be the most modern of projection 

100% Union Made 

SUPREX showing large reflector and 
perfectly guided carbons. 


1062 No. Orange Gpo^« A'^'e., l-os Ang«les, Calif. 

June 30, 1934 

Motion Picture Herald 



Once again 
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a great advance in 
the art of carpet 

^^The Age^of-Miracies Carpet,^^ Real broadioom 

carpets in any shape, any size, any design, any color or any com- 
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Lokweave patterns are formed by cutting and inserting different 
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up of strips bound together by tape and cement, it may be taken 
apart and remade to fit a space of entirely different shape! 

For full information, write to our Contract Department at the 
address below. 




June 30, 1934 
Vol. I 16, No. I 

A section of Motion Picture Herald devoted to the operation . . . design 
. . . maintenance . . . and equipment of the motion picture theatre 

GEORGE SCHUTZ, EdHor C. B. O'NEILL, Advertising Manager RAY GALLO, Eastern Advertising Manager 


Constructing Theatre Advertising: By George Schutz 6 

A 900-Seat Theatre Costing $55,000 : Midway, Dearborn, Mich 9 

A Fact-Finding System to Guide You: By J. T. Knight, Jr 12 

Maintenance Tabs 13 

Law Affecting Advertising Methods: By Leo T. Parker 15 


Modern Projection 17 

The Selection of Acoustic Materials: By C. C. Potwin and S. K. Wolf 17 

F. H. Richardson's Comment 20 

Planning the Theatre 28 


Editorials 5 

Electrogram 15 

Your Rights in Accepting Notes: By M. Marvin Berger 16 

Equipment Affairs: Equipment News and Comment 26 

Index to Advertisers 32 

Better Theatres Catalog Bureau 33 


MARTIN QUIGLEY, Publisher and Editor-in-Chief COLVIN W. BROWN. Vice-Pres. and Gen. Mgr 

CHICAGO: 407 South Dearborn Street HOLLYWOOD: Postal Union Life BIdg. 

LONDON: Remo House. 310 Regent Street. W.I 
CABLE ADDRESS: Quigpubco NEW YORK TEL.: Circle 7-3100 

Better Theatres (with which is incorporated The Showman) is published every fourth week as Section Two of Motion Picture Herald: Terry Ramsaye, editor. 
Member of Audit Bureau of Circulations. All editorial and general business correspondence should be addressed to the New York office. All contents 
copyrighted 1934 by Quigley Publishing Company and, except for properly accredited quotations, nothing appearing herein may be reproduced without 
written permission. Every precaution is taken to ensure the safety of unsolicited manuscripts and photographs submitted, but the publishers herewith deny 
all responsibility for them in case of mutilation or loss. Manager Chicago office, E. S. Clifford. Manager Hollywood Bureau, Victor M. Shapiro. London 
representative: Bruce Allan. Other Quigley Publications: Motion Picture Daily, The Motion Picture Almanac (published annually) and The Chicagoan. 



JUNE 30, 1934 


^ We are pleased to note considerable response to 
the two articles by J. T. Knight, Jr., on personnel 
problems. Considering the nature of the subject 
(which so far as we know has never been previously 
touched upon — certainly not with as much courage and 
constructiveness — the number of letters indicating deep 
interest in the matters discussed is large. One of our 
correspondents asked from Ireland if there were any 
books available on the training and supervision of the- 
atre personnel. We observe also that at least one 
prominent theatre organization — Famous Players of 
Canada— has specifically directed attention to the 
articles in a communication to district and theatre 

That we should take a selfish pleasure in this is to be 
expected. Our pleasure, however, is not wholly selfish. 
We sincerely submit that we are glad to be thus 
persuaded of a serious interest among theatre oper- 
ators in the development of well trained, conscientious 
supervisors and house staffs. Somehow the motion pic- 
ture industry in general succeeded in achieving a repu- 
tation as a field in which an employe's superior required 
precious little more than his ability to say yes. Once 
true? Getting away from it now? The only one of 
these questions worth bothering about at this stage of 
affairs is the latter one, and we believe that the answer 
is, we are. 

There are those, of course, who, having become 
thoroughly accustomed to a certain setup, are skeptical 
of the possibility of substantial change. We all are 
creatures of habit, some of us are temperamentally 
negative (pessimistic, if we dare use the word!), and 
most of us are too busy with our personal and occupa- 
tional affairs to gather evidence beyond that which 
seeps into our own immediate spheres of action. There- 
fore we are wont to say, "It will always be this way.'.' 

Upon reflection, however, we are assured that things 
are never "always this way." And certainly great 
changes have come into the affairs of the motion 

Some of these are temporary changes due to sudden 
adversity, and their effect is adverse. We can hope 
they change back again, or otherwise be improved. 
But changes have also come which, ultimately at least. 

are not so much due to adversity as to evolution. 
Steadily through the years even preceding the de- 
pression, motion picture exhibition was being intensified, 
as a business and as a technology. 

The demands made upon those in charge of theatre 
operations have accordingly become special and exact. 
Reversion to the old order here could come only from 
reversion to a motion picture of less Industrial and social 
significance. Whether a theatre is supervised by its 
owner or an employed manager, it must have immediate 
proprietorship capable of directing effectively a highly 
Important community enterprise that functions through 
commercial and technical processes not at all to be 
compared with the affairs of the dry goods or grocery 
store next door. Because of the special nature of the 
product, a special kind of acumen is required. Because 
of the technologies by which the product Is rendered 
consumable, varied technical training is required. 

Obviously, therefore, a high order of man-power Is 
constantly needed. Management is part of this man- 
power; then from the subordinate personnel of today 
we should expect the technical and managerial execu- 
tives of tomorrow. The methodical training and 
conscientious supervision of personnel thus form a basic 
and a vital function of this theatre business. 

If Mr. Dan hialpin, who Is much Interested In a very 
ingenious device to aid the hard-of-hearing, writes: 

"In your editorials of the June 2d issue you give an 
interesting sidelight on vision. Why would not this 
apply even more so to hearing? Forty million pairs of 
eye-glasses have been purchased. Only a few hundred 
thousand hearing aids have been sold, though there are 
over fifteen million hard-of-hearing people in America." 

True enough. Our suggestions in the June 2d Issue, 
concerned with an Inquiry as to what the public really 
thinks about the motion picture and Its theatre, was not 
intended to be exhaustive. If some of your patrons tell 
you they cannot hear well in your theatre, do not be 
too sure that the fault lies In the condition or operation 
of your equipment. A substantia! number of people 
with slightly Impaired hearing are not aware of their 
mild affliction — or (the psychologists can explain this) 
they won't admit it if they are. — G. S. 

[ S ] 

6 Better Theatres Section June JO, 1934 


Putting Ideas Into Type Forms 

A discussion of type 
style and the fitting 
of type to copy and 
layout — the seventh 
article of a series 


on type we note the different general 
classes into which tj'pe is broadly divided. 

We now come to a more 
Type Style detailed examination of 

type forms, beginning with 
a consideration of type faces. 

All faces slip more or less readily into 
one of the general classes of type. That 
is, some are old-style, some modern flat- 
serif, others gothic or modern sans-serif, 
and so on through the list of basic groups 
noted in the previous article. The charac- 
teristics which distinguish one face from 
another are not so obvious as those by 
which we identify classes. Sometimes, in- 
deed, an expert's familiarity with certain 
faces is necessary to tell them one from 

There are two reasons for this. One 
is that the fundamental principles of good 
type design are so rigid that not a great 
deal of difference is possible in the general 
pattern of type characters. Legibility is 
the first consideration, and tradition gov- 
erns legibilty to a very restrictive degree. 
There are freak types, of course, and wide 
variation is also possible among types cut 
for special purposes (particularly in the 
display sizes and ornamental styles). Note, 
"however, the similarity that exists for most 
people between the type used, for example, 
in one book of fiction and another, though 
the faces employed may be really quite 
'distinctive in the terms of the typographer. 

Another reason many type faces have the 
-same appearance to the layman is that a 
face marketed by one type manufacturer 
may be approximatelv duplicated by some 
(Other manufacturer. There are two sources 
-of type patterns — one, the early masters 
•of design ; tbe other, contemporary orig- 
inators. Like tbe music masters, whose 
works now belong to everybodv, the earb' 
designers have given patterns to most of 
aihe tyjxe ^cutters cof today. Some modern 

cuttings may be fairly true renditions of 
the original, others represent important 
modifications. In either case, they may be 
named for their originators {Caslon, Bo- 
doni, etc.), or they may be renamed, the 
new designation becoming the property of 
the designer or company sponsoring the 
modern cutting (as in Linotype's Granjon, 
based on a Claude Garamond design). As 
to the contemporary designer, he may cre- 
ate a style that becomes popular among 
typographers, whereupon similar faces may 
be produced by competitive sources of type. 
Thus we have been given, for example, a 
number of modern sans-serif faces some of 
which closely resemble each other (to name 
only three, the Mergenthaler Linotype 
Company's Metro, Intertype's Vogue and 
Ludlow's Tempo). 


The situation thus created should be 
appreciated because in most instances it 
greatly influences type selection. To illus- 
trate, you might want to use Metro for 
a certain display element. Your printer, 
however, may have only Tempo in the 
display sizes. Although there are certain 
distinctions between the two faces, these 
are not likely to seem great enough to 
cause you to insist upon one over the other. 
They, and many other faces of the same 
specific style (including those available 
only for hand-setting, like Continental's 
Kabel) , may be said to be interchangeable 
for most practical purposes. 

A similar, but not identical kind of in- 
terchangeability is present among the older 
styles of type, those w^hich, until recently, 
we were most familiar with and which 
are still dominant except in the field of 
advertising (and even there they are not 
to be lost sight of despite the current clamor 
for "modernistic" novelty). These faces 
are most readily identified by their pos- 
session of serifs, either flat or rounded, and 
by their delicate shadings, emphasized in 
the contrast between the weights of the 
vertical and horizontal strokes'. Among 
these are the Caslons, the Cheltenhams, 
the Bodonis, and so on through a lengthy 
list. Those named immediately above, as 
well as many others, are available for vari- 
ous kinds of machine setting and for hand- 
setting also, in cuttings so conventionalized 
on the basis of the original design that no 
matter what company supplied the cast 
type or machine matrices, the job will be 
comoosed essentially in the style of type 

Such faces are directly interchangeable 
for the practical purposes of most commer- 
cial printing, because they really are, in 
a broad sense, standard. We have noted, 

however, that a manufacturer may orig- 
inate or adapt a design and give it an 
exclusive name. Thus even among the 
traditional styles of type (in contradistinc- 
tion to the modern sans-serif and square- 
serif patterns), there are styles restricted 
to certain makes of machines or to hand- 
setting. Thus the face you want to use 
may not be available from your printer. 
In most instances, however (except for 
highly specialized styles), he will be able 
to give you a face carrying another name 
that is at least approximately as suitable 
to your purposes as your original choice. 


The average newspaper, of course, is 
not capable of offering as wide a selection 
of type faces as the typesetting companies 
in large cities that specialize in advertising 
composition, but it doubtless has enough of 
a variety to serve the theatre advertiser 
effectively. Any important deficiency is 
likely to be found among the new modern 
sans-serif styles. A great variety of type 
styles is really not necessary. Probably 
the most of all advertising, in the United 
States at least, is accomplished with from 
twenty to twenty-five faces. More im- 
portant than the availability of many dif- 
ferent faces is the ability to get, by original 
instructions or ultimate criticism, an ad- 
vertisement that is, within itself, a har- 
monious conveyor and interpreter of the 

Prominent among type faces suitable for 
advertisements, available in the plant of 
the average newspaper, are the following: 

Cheltenham (especially boldface), Cas- 
lon, Bodoni (especially bold, though not 
heavy), Goudy, Century, Benedictine (to 
a lesser extent), Garamond, Gothics (prob- 
ably some variety of faces in this class, 
with both extended and condensed fonts), 
Cloister, and (except in the very small 
cities) one or two families of modern sans- 
serif. In addition, the advertiser will fre- 
quently find available odd fonts of special 
types, like script ; black letter styles, com- 
monly referred to as Old English ; outline 
(or inline) faces, which have hoUowed-out 
characters giving the effect of double 


SELECTION OF type for an 
advertisement calls, more often than not, 
for a selection of more than one face. 
When this is not the case (and it is safest 
to use one type family if it meets all the 
copy and psychological needs of the ad- 
vertisement), the problem of selection is 
greatly simplified. But with advertise- 

June 30, 1934 

Motion Picture Herald 


Showmanship in Typogra Showmanship in Typography Is 

Cheltenham Bold 

Cloister Bold 


Cheltenham Bold Condensed 


Gothic {old style) 


Cheltenham Bold Extended 


Gothic {old style) Condensed 

Showmanship in Typogr SHOWMANSHIP IN TYPOC 

Cheltenham Bold Italic 

Tempo Medium {modern gothic, medium boldface] 

Showmanship in Typograph SHOWMANSHIP IN TYPOC 

Bodoni {Modern Serif) 

Tempo Light {modern gothic light face) 

Showmanship in Typograp showmanship in typography 

Bodoni Bold 

Caslon Old Face 

Showmanship in Typogr showmanship in typograp 

Bodoni Bold Italic 

True Cut Caslon 

Showmanship in Typograp 

Goudy Light face 

Shozv mans hip in 'Typography Is ain <iAdve 

True Cut Caslon Italic with Swash Initials 

Showmanship in Typogra 

Goudy Bold 

Showmanship in Typography Is 

Century Bold 

Showmanship in Typogra Showmanship in Typog 

Goudy Bold Italic 

Caslon Bold 

Showmanship in Typograph Showmanship in Typo 


Narcissus {an inline style) 

Showmanship in Typography Is an Adve Showmanship in Typography Is an Ad 

Garamond Italic 

Karnak {modern square serif) 


Better Theatres Section 

June 30, 1934 

merits most frequently made up display 
matter, which is commonly diversified in 
itself ; text, captions or small blocks of 
explanatory copy, and in addition, the sig- 
nature, address, and so on, mechanical 
conditions as well as the demands of con- 
trast indicate for the average advertise- 
ment more than one family of type. 

The theatre advertiser, of course, scarce- 
ly needs to be so meticulous about such 
matters as the professional typographer. 
But whatever the ad, space for it is be- 
ing purchased because it has definite mer- 
chandising value, and it is therefore im- 
portant enough to be done with a reason- 
able amount of care and skill. True it is 
that the printer should be able to supply 
the skill. All too often, however, the skill 
supplied will be mechanical, not creative. 
The printer, moreover, does not have the 
intimate feel of the copy that the ad- 
vertiser has, and in theatre advertising, 
which sells emotional experiences, copy 
should be interpreted in the special terms 
of the showman. It probably may be con- 
ceded that it is at least better for the 
showman to tell the printer what he wants 
than for the printer to "dope" the copy 
from the limitations of a printer. 

To be able to combine types, it is 
naturally necessary to have some definite 
comprehension of the nature of each of 
the faces to be combined. Nobody is 
familiar with all available type styles, of 
course. Even the professional typographer 
is thoroughly versed in only those families 
he uses and has used in the past. For the 
theatre advertiser, an acquaintance, which 
may be gradually developed, with the com- 
moner faces should be sufficient. 


In examining type faces to determine 
their use to him, he should observe how 
each seems to be individually characterized, 
and how the characteristics of one style 
are distinguished from, or bear certain re- 
lationships to, those of other faces. Thus 
will be aided the selection of a certain 
face to serve a certain purpose, and the 
combining of faces harmoniously. The 
theatre advertiser's method will not be 
necessarily that of the professional. It 
will probably suffice if he observes type 
with respect to the following features:^ 

Feeling. Much has been said and writ- 
ten about the psychology of type, a great 
deal of it absurd. The thought expressed 
itself goes a long way toward setting up 
in the reader a specific intellectual or emo- 
tional reaction irrespective of the physical 
character of the type employed. Neverthe- 
less, the physical personality of the type is 
important. To illustrate: 

Sfxe ULl fax L^e! 

Obviously, you can't kill for either love 
or money very convincingly in a face like 
that, but you are likely to get away with 
it by adopting some such weapon as: 

She killed for love! 

The emphatic, swift bold italic seems to 
harmonize witli the idea. We get a feel- 

ing of vigorous unrestraint, into which 
category we may assume that murder falls. 
But there is no formulaic psychological 
analogy between any idea or action and a 
certain style of type. Environment — the 
interplay of contributing typographical 
elements as well as copy — must be con- 
sidered. As in music, tradition is what 
determines the reaction. The best way 
to obtain some definite, memorable sense 
of the feeling of certain type styles is to 
ask: How does it make me feel? Then 
when the time comes actually to use type 
of that style, a similar test should be put 
to it all over again, with specific reference 
to the copy, the general personality of the 
layout as a whole, and the influence of 
any combining types which already may 
have been determined. Repeated use of 
certain faces will of course gradually clari- 
fy for you any definite psychological 
tendencies that each may possess. 

Pattern. The greatest difference will be 
seen at once to lie between the two great 
type groups : faces with serifs and those 
without serifs (sans-serif). In considering 
the former, one should note that some faces 
have rounded serifs (old style), while others 
have flat serifs (modern. To illustrate: 

Old Style 


The sans-serif group may be divided into 
gothic and modern sans-serif. There is 
plenty of distinction between them, as ex- 
amination will show, the gothic or old- 
style sans-serif being extremely plain, regu- 
lar in lining, rather more uniform in char- 
acter formation, as a rule, than the ver- 
sion developed during the 1920's. There 
are many variations of the old gothic, 
and they have been cut in condensed and 
extended styles more than most faces. 
Their principal use today is for newspaper 
headlines and handbills. The modern 
gothic (usually referred to now merely 
as modern or sans-serif) is relatively high- 
ly stylized, simple rather than plain, some- 
what irregular in lining and character 
formation. To illustrate the two groups: 

Old Gothic 

Modern Sans-Serif 

The square serif style previously alluded 
to is really modern sans-serif with terminal 
bars added. From some points of view 
the addition represents a whimsy of little 
constructive typographical significance, 
square serif faces being stodgy, and when 
used for more than a very few words in 
display sizes, quite illegible. To illustrate: 

Square Serif 

Other factors entering into the determina- 
tion and recognition of pattern have been 
indicated earlier in this article. 

Tone. This means the general lightness 
or darkness in the effect of the face upon 
the printed page. Among fonts of some 
families of type there are ranges of tone 
from lightface through medium and bold- 
face to extreme boldface. But two faces 
in the same font and pointage may be 
quite distinct as to tone, one noticeably 
darker than the other. Tone must be con- 
sidered because the advertisement as a 
whole should have one dominant tone, and 
because tone is an important factor in 
determining face combinations. Many an 
error in judgment as to the harmony of 
face pattern has been concealed by a happy 
similarity in tone. 

Knowing fairly well the principal char- 
acteristics of the type faces at one's dis- 
posal, one is in a position to combine them 
adequately well according to the common 
rules of harmony. Specifically with respect 
to type, faces should be wedded according 
to their physical compatibility. They 
should have some things in common. Flat 
serifs with flat serifs. Round with round. 
Sans-serif with sans-serif, or at least with 
square serifs or modern flat serif, depend- 
ing on relative tone values. Highly deco- 
rative faces do not go with austere, formal- 
looking faces. Type with a flourish has 
greatly restricted application when associ- 
ated with type having a rigid or event 
constrainted pattern. But no formula can 
be laid down. For the advertiser who 
does not wish to go deeply into the craft 
of the typographer, the best advice is : 
Combine type faces according to their feel- 
ing, or their tone, or their pattern. One 
of these divisions should offer, as a gen- 
eral thing, a common ground for a rea- 
sonable settlement of their differences. 


IN EVERY advertising lay- 
out there are certain rigid limitations of 
space for each element. Therefore each 
type element has to be set in lines of cer- 
tain lengths and in blocks of certain depths. 
This fundamentally involves measurement 
and spacing according to the space avail- 
able, the necessity of suitable intervening 
areas of white space within the advertise- 
ment, and what may be called the common- 
sense dictates of readability. 

Display lines. These are the catchlines 
or headings of the advertisement, usually 
located at the top, but in some instances, 
at least in subordinate size and boldness, 
made to occupy positions within the body 
of the layout. Commonly the physical ar- 
rangement can be freer than is the case 
with text matter — that is, there is no need 
to conform to the rigid limitations of the 
paragraph. Indeed, a certain looseness, or 
flourish, is frequently indicated. Neverthe- 
less, the display line is physically limited 
by the demands of good balance and by 
the proper margins of the layout. Only a 
certain number of characters, or approx- 
imately so, are permissible to each line. 

Text. This consists in the main part of 
the message, and for the purposes at hand, 
caption matter or small blocks of secondary 
{Continued on page 30) 

June 30, 1934 

Motion Picture Herald 



Describing the new 
Midway in Dearborn, 
Mich., representing 
an original use of 
materials as well as 
low cost construction 

[The following description of the Mid- 
way has been prepared for Better Theatres 
by the architects, Bennett ^ Straight of 
Deaborn. — THE editor.] 

THE Midway Theatre 
in Dearborn, Mich., is owned and man- 
aged by the Midway Theatre Company. 
Joseph Miskinis and Joseph Stoia head the 
concern. The building fronts 80 feet on 
Schaefer Highway, and extends 112 feet 
to an alley at the rear. It is of a modern 
design with an exterior facing of a cream 
colored, honed surface Minnesota "Kaso- 
ta" stone, with all panels and decorative 
motifs worked out with polished pink 

"Kasota" stone. The ground floor is en- 
tirely utilized for the theatre, with the 
exception of two small (21 foot x 15 foot) 
shops. On the second floor over the shops 
and lobby is space for owner's office, and 
one rentable office, and the projection room. 


Construction is of steel-frame, reinforced 
concrete, and entirely fireproof to conform 
to a very rigid local building code. Ex- 
terior enclosing walls are of masonry con- 
struction faced with brick and backed up 
on the interior with cinder block. Floors 
are of concrete slabs with terrazzo finish, 
in the lobby, shops, toilet rooms, etc. Steel 
trusses over the auditorium support the 
roof and ceiling. Roof is of the steel deck 
type, insulated with 1 inch of board in- 
sulation and covered with a tar and gravel 

The building exclusive of land and 
equipment, represents an investment of 
about $45,000. It contains about 230,000 
cubic feet, which means that it cost about 
19 cents per cubic foot. Equipment to 
complete the project represents about $10,- 
000 additional. 

Dearborn, the home of Henry Ford and 

the Ford Motor Company, is a suburb, 
practically surrounded by Detroit. It has 
a population of over 60,000 people. The 
Midway, being located on Schaefer High- 
way just off Michigan Avenue, is at the 
most important intersection in the busi- 
ness section of Dearborn, as the Schaefer 
Highway leads directly to the Ford Motor 
Company and is one of the heaviest 
traveled roads either in Detroit or Dear- 
born. The building was erected by the 
owners under the architects' supervision, 
by awarding of contracts to the various 
different trades involved, and was erected 
in about four months time, mostly during 
one of the coldest winters in this section 
of the country. 


The seating is all on the ground floor, 
the floor being bowled to give satisfactory 
seating arrangement and sightlines. There 

The view at the top of the page shows the 
modern design of the front elevation with 
facing and decorative elements in Minne- 
sota "Kasota" stone in blended shades. 
Enclosing walls are of masonry faced with 
brick and backed with cinder block. 


Better Theatres Section 

June 30, 1934 




r r 




are 29 rows of seats spaced 30 inches back- 
to-baclc and averaging 20 inches center-to- 
center, giving about 32 seats to the row 
and a total seating capacity of 900. Chairs 
are of the upholstered type manufactured 
by the Ideal Seating Company of Grand 
Rapids, Mich. 


The projection room is located on the 
second floor level with access from second 
floor corridor. The room is 19 feet x 9 feet 
with a 6 foot by 9 foot adjoining room for 
storage or other purposes. This room was 
intended for the generators, which were not 
necessary with the a. c. equipment. There 
is also a toilet room off the projection room. 
The walls are of Gypsum block construc- 
tion 6 inches thick, ceiling 2 inches thick, 
fireproof and suspended from the roof con- 
struction. The walls and ceilings are 
plastered and painted with oil paint in a 
buff tone with a darker dado or wainscot- 
ting. The floors are of cement with 
linoleum finish. The present projection 
installation consists of two Simplex a. c. 
projectors equipped with Strong a. c. 
Mogul lamps and "Superlite" lenses. Space 

and provision is arranged for another ma- 
chine or spot. The sound equipment is 

The screen is 20 x 15 feet and sets 
back at the rear of the stage, giving about 
16 feet from the front row of seats to the 


Over the stage is located the fan room. 
Fresh air is taken into the building about 
30 feet above the ground, from the north 
side, drawn over the heating or cooling 
coils, through the filters, and blown out 
by a 30,000-c.f.m. fan through ten orna- 
mental ceiling grilles. Air is exhausted 
from the floor level through six ducts, and 
discharged through roof ventilators, or may 
be recirculated for quick heating before 
opening time. Provision has been made for 
the installation of cooling coils and re- 
frigerating units, which will be installed at 
a later date as and if local conditions re- 
quire them 

The auditorium is heated by air tem- 
pered over the steam coils in the fan room 
and blown out through the ceiling grilles. 
Auxiliary heating in lobby, shops, offices, 

toilet rooms, etc., is by direct radiation. 
Steam is generated in a steel tubular boiler, 
located in the boiler room under the stage. 
At present the fuel is coal, but provision 
has been made and tanks installed for oil 
burning equipment. No provision has been 
made for any air conditioning outside the 


The auditorium is illuminated bv in- 
direct lighting supplied through six large 
urns located on the side walls. Each urn 
contains four reflectors equipped with 200- 
watt lamps arranged with red, blue, amber 
and white lenses. The soffit of the marquee 
over the entrance is arranged to flood-light 
adequately the sidewalk. Feature attraction 
signs are provided for on the ends of the 
marquee, together with the large vertical 
sign on the front. Further provision has 
been made for flood-lighting the exterior 
from reflectors which have been concealed 
on the marquee. 


Cinder block for the interior wall treat- 
ment was selected for its acoustic value. 

General view of the audi-forium, with its walls of cinder block. 

sheet metal with ornamental panels on the 

The lobby follows the general archi- 
tectural design. The walls are plastered in 
a textured treatment and stippled in pleas- 
ing shades of greens, tans and bufJ. The 
ceiling is of plaster, paneled and finished 
with ornamental cornices. Floors are of 
colored terrazzo in pattern design with a 
base of Ross pink marble. Radiators are 
concealed by white metal grilles with white 
metal poster frames and mirrors over. 

The foyer and auditorium form a unit 
and are finished from floor to ceiling with 
cinder blocks laid in the random ashler 
design. Blocks have been painted very 
successfully to imitate Caen stone, as here- 
tofore mentioned. The coffered ceiling is 
of textured plaster in the panels with 
decorative stencil-painted, smooth plaster 
bands. Where the ceiling adjoins the wall 
ornamental plaster cornices occur. No il- 
lummation other than the side wall urns, 
six on each side. Floors are of colored 
terrazzo finish, with aisles and foyer space 
carpeted. The decorative scheme of ceil- 
ings and cornices are carried out in warm 
tones to blend with the Caen stone wall 
effect. Bright colors are used in the sten- 
cils, blues, reds, and silver bronze pre- 
dominating, with a peach tone in the panels. 

The blocks are of various sizes and laid 
in a random ashler pattern, giving a very 
pleasing effect. "Sunflex" paint was 
sprayed on the walls, using a warm buff 
shade as a base coat, then alternating blocks 
were handpainted in various shades to give 
a Caen stone appearance. The use of this 
type of paint does not seal the porous tex- 
ture of the blocks, hence the full sound 
absorption is obtained. No other acoustic 
material was used. 

Cinder blocks adapt themselves nicely 
for decoration as the colors used are bril- 
liant and full of luster. The use of block 
is also very economical as no plastering is 
required. Plastering is a hard surface and 
would require considerable ceiling acoustic 


The ground floor layout is such that lit- 
tle or no space is lost and patrons pur- 
chasing tickets pass directly through a small 
lobby into the foyer space. Rest rooms are 
provided at each end of the foyer, with 
concealed entrances to them reached 
through alcoves. 

The stage is equipped only for picture 
shows or minor acts, as no fly gallery of 
asbestos curtain is provided. The prosceni- 
um opening is 36 feet wide by 20 feet high. 

Modern style of architectural treatment 
is used on the exterior, adapted to the in- 
tended use of the building without de- 
tracting from the semi-commercial use. 
Interior architectural treatment is carried 
out to harmonize with the exterior. Poster 
frames are of white metal. The marquee 
is of structural steel covered with moulded 

Detail of cinder block wall. 

12 Better Theatres Section June 30, 1934 


By J. T. KNIGHT, Jr 

The need of local 
statistics for effi- 
cient theatre oper- 
ation, how they may 
be charted and val- 
uably put to work 

EARLIER, AND from time 
to time, I have repeatedly emphasized the 
importance of the theatre manager. Our 
industry is entering a period when the 
manager will come into his own as an 
important and greatly respected link in the 
chain of success of any one theatre or of a 
circuit — this provided the manager equips 
himself so that he can master the prob- 
lems of his particular operation. 

A theatre is only as successful as its 
manager — that's axiomatic — and the same 
principle applies equally to the circuit. This, 
of course, sounds a bit trite. Despite some 
arguments to the contrary, it is still true. 
In every article that I have written I 
have addressed myself directly to the man- 
ager, because in the theatre manager I 
see the final solution of many of our 
troubles, trials and tribulations of today, 
and of the more recent past few months. 
Our income is collected from the theatre- 
going public of this country at the box 
office of the theatres. The managers must 
be held responsible for those "grosses," 
they must cheerfully shoulder that respon- 
sibility, knowing with confidence that their 
ability as managers is largely measured 
by the box office results. 

If the manager's ability and therefore 
his success is to be measured by the box 
office results, he has the right to know 
by what criterion the box office results are 
measured. Too often we hear the word 
■'gross" as if it were the measure of suc- 
cess. / believe that the only measure of 
real box office results is in the net figures. 
O'ften the net is lost sight of in the boast 
of a large gross. But large gross does not 
necessarily indicate a large net figure. 


There are at least two definite reasons 
for the growth of this practice of talking 
always of the gross figures : The first is 
perhaps that the trade papers report the 
intake on pictures in terms of "gross re- 
ceipts," and we read such figures so often 
that we begin to think largely in terms of 
gross intake. A second reason, and per- 
haps the most irrportant, is that theatre 
managers, except in cases of owner-man- 

agers, are not given accurate information 
regarding the fixed, overhead, depreciation 
and amortization charges, etc., by which 
they could arrive at correct net operating 

This failure to give such information 
to theatre managers by circuit executives 
has been founded upon several conditions, 
any one of which has on occasions been 
justified. For instance, dishonesty of some 
managers ; some managers giving informa- 
tion to unauthorized persons ; some man- 
agers leaving books, reports and papers 
unprotected so others might see such in- 
formation; some managers' .desire to take 
advantage of every slight upturn in business 
to ask for a raise; and again, some circuit 
executives' desire to becloud and make 
mysterious the whole procedure of theatre 
operation ; and still others' desire to load 
the theatre with all the charges the traffic 
will bear. But cutting through all of 
these reasons, the real basis of such practice 
is a lack of mutual confidence, appreci- 
ation and understanding between the ad- 
ministrative executives and managers. 

No individual can go very far in the 
business world without self-confidence (I 
don't mean an inflated ego) founded upon 
conscientious effort and intelligent applica- 
tion. No commercial endeavor can go very 
far without mutual confidence (I don't 
mean blind faith) between the admin- 
istrative forces and the operating forces, 
founded upon co-operation and a unity of 


The time has come for a full appreci- 
ation of these principles by every one con- 
nected with picture exhibition. The money 
taken in at the box office is the only earned 
income for this industry, all other barter 
and trade for pictures, pooling and leasing 
of theatres and personal services might be 
said to be within the industry. The money 
changing hands in such deals was originally 
taken in at the box offices or borrowed 
from banks to be paid back from the box 
office intake. Knowing this, it naturally 
follows that there must exist that mutual 
confidence between the administrative and 
the operating forces. 

If managers can't be trusted with the 
confidential details of a theatre operation 
then that manager should be asked to resign 
and a new manager appointed capable of 
shouldering the responsibility and sharing 
the confidence of the operation. Converse- 
ly every responsible and reliable manager 
has the right to ask for, and to expect, the 
confidential details of his operation if he 
hopes to handle that operation intelligently. 
When managers become sufficiently self- 
confident, with that self-confidence founded 

upon worthy past records, to insist upon 
sufficient data for intelligent operation, 
then and only then will the manager be 
taking his true place and part in this 
industry. When such details are, as a 
rule, given to managers, the industry to 
some extent will be self-protected against 
some of the nightmare deals that have been 
made in this industry in the past, the skele- 
tons of which have so embarrassingly come 
clattering out of the closets of secrecy 
during the past two or three years. 


The first step toward this objective is 
for the manager to demonstrate positively 
his ability to operate a theatre intelligently. 
Intelligent operation means knowing every 
phase and detail of the operation, which 
means the neighborhood, the town, the 
state, the local history, labor conditions, 
local political situation, patriotic organiza- 
tions, religious attitudes, etc., and most of 
all the manager must have at his finger 
tips the details of the theatre's business. 

In order to know the details of the 
theatre's business there must be an ade- 
quate system of workable, fact-producing, 
theatre control records. Control records 
are not synonymous with an accounting 
system, bookkeeping, statistical charts, 
journal entries, log entries, or diary record- 
ing; or pay rolls, requisitions, invoices or 
advertising schedules. Proper and ade- 
quate control records are a combination 
of all of the above, and any other pertinent 
facts pertaining to the particular theatre, 
summarized for quick references and ar- 
ranged to present a fabric of related facts 
— facts supported by sufficient exact detail 
to justify the use of the control records 
as the foundation for opinions and decisions 
that will guide and direct the future man- 
aging of that theatre. 


Too often important decisions are based 
upon totals : total attendance, total box 
office intake, total net profits or total net 
losses. Totals seldom indicate the exact 
point of failure or the specific reason for 
success. Therefore, totals can only be con- 
sidered secondary or supporting data for 
control records. 

Totals may profitably be used to support 
a detailed hour-by-hour day-by-day history 
of the rate of doing business. The rate 
of doing business is the varying amount 
of business done in relation to a unit of 
time. Therefore a plan to show this "rate 
of doing business" will of course show the 
business total, but in addition will show the 
hours when business was below normal, 
normal, and above normal. 

June 30, 1934 

Motion Picture Herald 


Space does not permit an elaborate de- 
scription and discussion of all the types 
of records and summaries which a theatre 
manager might keep to aid him in knowing 
his business so I shall concentrate on a 
practical suggestion which I believe has 
many advantages and which tells a long 
story with many details emphasized. 


The accompanying diagram represents 
the business done on a Saturday by a the- 
atre of 1,100 seating capacity in a town 
sufficiently close to a large city to be con- 
sidered a suburb of the city. The box 
office opened at one o'clock p.m., and stayed 
open continuously till 10 p.m. The num- 
bers of the tickets were noted by the 
cashier every thirty minutes, so that the 
number of tickets sold, or the number of 
people entering the theatre, during the 
preceding half hour was determined. The 
number of people is indicated by the space 
between the horizontal lines, and the key 
figures along the vertical line at the left 
are indicated in intervals of 250 ; hence 
the space between each horizontal line rep- 
resents 50 people. The distance between 
the vertical lines represents time, the space 
between each line represents 12 minutes; 
five spaces represent one hour. 

Below the heavy horizontal line, where 
the hours 1 :00, 2 :00, 3 :00 and so on 
up to 10 o'clock are indicated, is noted in 
brief the program. This shows the feature 
picture and the rest of the program. 

In reading this chart you will see that 
between 1:00 p.m. and 1:30 p.m., 100 
people entered the theatre ; between 1 :30 
p.m. and 2:00 p.m. 250 people entered; 
and between 2:00 p.m. and 2:30 p.m. 100 
people entered, and so on up to 10:00 p.m. 

You can also see that between 1 :30 
p.m. and 2:00 p.m. film was showing, but 
that 2:00 p.m. the regular show started; 
the feature picture of the first show started 
at 3:00 p.m. and lasted till 4:12 p.m. Also 
note that "fill in film" was used again 
between 5:12 p.m. and 5:36 p.m., so on 
through till 10:00 p.m. when the feature 
picture started for the last time. 

So also at half hour intervals, the man- 
ager, assistant manager or usher checks 
the number of people actually in the the- 
atre. This can be an estimated check of 
the house, and with a little practice such 
estimating becomes surprisingly accurate ; 
or it can be an actual count ; or it may 
be an actual count by a hand tally. These 
points are plotted and connected with the 
dotted line. So the chart indicates that 
at 1 :30 there were 100 people in the 
theatre; at 2:00 there were 300; at 2:30, 
400; at 3:00, 650, and so on. 

The horizontal dashes at 1,100 repre- 
sent the house capacity, therefore the space 
below this dash line and above the dotted 
line represents the portion of the house 
that was empty. That space above the 
dash line and below the dotted line repre- 
sents people waiting to get in (this occurs 
between about 8:10 and 9:03 p.m.). 

Right at this point it is well to realize 
that this is not actually a lot of work. 

Title and text copyrighted 1934. Reproduction of any I'art ivitlmut I'crmission is expressly forbidden 

H. R. M.): The moth condition which 
you outline in your letter is evidently 
very serious. I assume that during the 
two or three years that the theatre has 
been closed, that they have gained such 
headway that nothing but the most 
drastic measures can be taken now to 
get rid of them. A fumigation of the 
entire theatre with hydrocyanic acid 
gas Is the most effective procedure. 
This gas Is deadly to ALL ANIMAL 
LIFE, including HUMAN BEINGS. This 
can only be done by experts with the 
full approval and cooperation of the 
Health Department of your city. Don't 
attempt this yourself. Let the job out 
to an accredited company and cover 
yourself in writing against all kinds of 
damage claims. Ten breaths of this gas 
In the concentrated use In house fumi- 
gation will cause death. 

My second suggestion is this: De- 
pending upon the quantity of carpet 
and the amount of your investment In 
the carpet, I would recommend your 
taking it up from the floor. Vacuum 
clean it well and sprinkle It thoroughly 
with paradichlorobenzene crystals, one- 
half pound to the square yard, then fold 
or roil up with the nap of the carpet 
inside. Make these rolls or bundles as 
compact and air tight as possible. As 
these crystals evaporate they form a 
gas or vapor, that if confined sufficiently 
long will kill moths In all stages of their 
development. If the theatre continues 
to remain closed this treatment should 
be repeated every six months. This you 
can do yourself with theatre help. There 
Is no danger to human life involved. 

The third suggestion Is this: Seal the 
theatre up tight with 3- or 4-Inch gum- 
med tape on all doors or other open- 
ings to the outside. Try to seal venti- 
lating ducts in some way. Then after 
the carpet has been vacuumed, sprinkle 
over the carpet the same paradichloro- 
benzene crystals mentioned above, but 
at the rate of one pound for every 1 ,000 
cubic feet of volume of air space. Be 
sure that every Inch of carpet" Is cov- 
ered with these crystals. This process 
should protect the carpets from 9 to 
12 months, provided there Is a minimum 
of air leakage from or Into the theatre. 
The fumes from these crystals in carry- 
ing out fhis treatment will Irritate the 
eyes of the workers, but will do no per- 
manent damage to human beings. 
However, I do not recommend exposure 
to these fumes longer than necessary. 

MOTORS (answering W. H. A., Jr.): 
Your questions are very general, I can't 
answer them In anything but general 
terms. All motors fall somewhere in the 
following classification: 

Motors classified as to the current 
supplied to them are either direct (d.c.) 
or Alternating (a.c.) current. 

D.C. motors are classified as (I) shunt, 
motors, (2) series motors, (3) compound 
motors, and (4) compensating motors. 

A.C. motors are classified as (I) syn- 
ch ronous motors, (2) Induction motors. 
In turn classified as (a) squirrel cage 
rotor motors, (b) phase wound rotor 
motors; and (3) commutator motors. 

Probably the most common theatre 
usage of motors is as follows: 

D.C. motors: Shunt wound, for pumps 
and general purposes. Shunt wound 
motors with resistance in series with 
armature (variable peed), for fans and 

A.C. motors: Synchronous, for motor 
generator sets, pumps and compressors. 
Squirrel cage (low resistance rotor 
windings), for pumps, fans and blowers, 
and general purposes. 

Your question with reference to lubri- 
cation Is equally as general as the motor 
type question. I shall try to cover that 
briefly in these columns in the July 28th 

You might get some Immediate help 
by referring to my article entitled 
"Maintenance of Theatre Machinery" 
In the February 10, 1934, issue of 

AIR WASHERS (answering J. S.): Dig 
out of your files the Spring Buyers Num- 
ber of Better Theatres, dated April 7, 
1934. !n there you will find an article 
entitled "Summer Comfort Through 
Ventilation," and on page 16 a section 
entitled, "Effect and use of Air Washer." 
Read this carefully, it does contain a 
lot of information. 

Th en in that same Issue, turn over to 
page 59, where under the heading, 
"Equipment Affairs," you will find brief 
descriptions of different systems all of 
which use air washers, and any or all of 
those companies could quote on your 

In addition to the four described, air- 
washers and ventilation systems are ad- 
vertised on pages 35, 36, 37, 38 and 42. 

If there is anything more we can do 
for you let us know. We will be glad 
to advise you further upon receipt of 
more specific details and questions. 


Better Theatres Section 

June 30, 1934 

This entire chart can be plotted and 
sketched in 20 minutes with the proper 
data at hand. The cashier in most every 
theatre usually takes hourly readings from 
the ticket machine or directly from the 
tickets, so it is only necessary for her to 
take them at half-hour intervals instead 
of at hour intervals. The arrangement 
must be made to get an accurate count of 

the people in the theatre at half-hour in- 
tervals. The paper used to make this 
graph is standard. It can be bought at 
most any stationery store for 15 or 20 
cents a pad of 25 sheets. The pad so 
ruled so that there are five or ten spaces 
between the heavier ruled lines, is much 
more convenient than one divided into four 
or eight spaces between heavier lines. 

Of the two curves shown on the dia- 
gram, the solid line showing the rate of 
movement of people into the theatre is 
more important. This rate might be con- 
sidered the cause, and the dotted curve 
(showing the fill of the house) the effect. 
The dotted line represents "totals," as 
earlier referred to, and is dependent upon, 
or results from, the rate curve. The only 
way the "totals" curve can be altered is 
by influencing or bringing about changes in 
the rate curve. So if it is desirable to 
alter the "totals" or to fill curve, study 
what can be done to change the rate curve. 


From this it follows that if the business 
in your theatre is not up to your desires, 
and there are too many vacant seats, a 
study of the rate of doing business becomes 
all the more important, for the total busi- 
ness is determined by the rate of business. 
If a manager should be fortunate enough 
to be playing capacity all the time, then 

this plan of analysis can't be of great help 
to him, but it will definitely be of great 
value to those doing less than capacity. 

Note that the peak of the matinee "fill" 
curve is at the point A, whereas the peak 
of the matinee rate curve is at B. A 
is at 4:00 p.m., and B is at 2:00 p.m. A 
lags behind B two hours. This is caused, 
first, by the general habit of the people of 

this community on Saturday afternoons; 
and secondly, this time lag is greatly in- 
fluenced by the program arrangement and 
schedule. If you begin to study your situ- 
ation by this visual means you will soon 
see how, by altering the program schedule, 
you will effect changes in these curves. 
Of course it would be ideal if, when you 
had fewest people in the theatre, you had 
the highest rate of entrance. 

These curves are directly affected by 
your advertising, publicity tieup, exploita- 
tion and star values. The effects may be 
to your advantage or disadvantage, and 
the plotting of results in this manner brings 
to your attention more quickly and more 
forcibly the results of your efforts, the 
exact spots that are improved, and the 
spots that have become worse, than any 
other method. 

Look at the diagram: Certainly it would 
be a waste of time to make any sort of 
tieup, or advertise in such a way that you 
would attract more people to the box office 
between 8:10 and 9:03 when there are 
more people than you have seats for. But 
if emphasis that the last feature picture 
starts at 10 o'clock, and that there are 
seats available after 9:10, will make the 
drop-off less abrupt, then it is of definite 
advantage. Such information given to so- 
cieties, evening educational groups, civic 
groups, legion posts or any gathering of 

persons that takes place periodically and 
adjourn about 9 o'clock, might be the 
means of picking up extra business when 
you can handle it. 

From this chart it is readily seen that 
between 4:30 and 5:30 p.m., only 150 
people were admitted to the theatre. It 
is possible that by a re-arrangement of the 
program, and omitting the "fill in film" 
(thereby saving some film cost) the same 
amount of business might have been done, 
and the theatre could have been closed 
between 4:30 and 5:30 so that all em- 
ploj'es could get supper. In this way the 
inconvenience of supper reliefs could have 
been done away with. In these days of 
maximum working hours for theatre em- 
ployes a manager will find such charts a 
great help in setting up work schedules. 
It can be seen at a glance just how rushed 
the cashier is, and if there is a second 
ticket window, when and if it should be 
opened to properly handle the people. It 
will also aid in establishing floor coverage 
by ushers or other service employes. 

Summarizing : I have very briefly shown 
how this type of analysis will aid the 
theatre manager in knowing and visualiz- 
ing — 

First, The natural or habitual pattern 
of movement of the people of that com- 

Second, How this chart can aid in laying 
out a more effective schedule of shows. 

Third, How this chart can aid in plan- 
ning advertising aimed at bringing people 
into the theatre at off peak periods. 

Fourth, How this chart can help in 
planning tieups and exploitation stunts to 
affect more profitably box office receipts. 

Fifth, How this chart will aid in estab- 
lishing reasonable and effective working 
schedules for employes. 

And a sixth point: Such charts can be 
of great help to the engineer or employer 
responsible for the proper ventilation of 
the theatre, by providing a basis for an- 
ticipating conditions that require the ad- 
justment of fan speeds, the opening or 
closing of louvers, or the regulating of 
other equipment.' 


If you should start in to set up such 
charts on your theatre and compare one 
day with the next, and this Monday with 
last Monday and the Monday preceding 
that, and Decoration Day next year with 
Decoration Day of this year, or Fourth 
of July next year with Fourth of July 
this year, you will soon observe and be- 
come impressed with what I have pre- 
viously called "the habitual pattern of 
movement of people of the community." 
In brief, human beings are very much 
creatures of habit and conform in their 
routine lives to a definite order of things. 
The same or somewhat similar program 
is followed by people each Monday, or 
Tuesday, or Decoration Day, or Fourth 
of July, unless definitely influenced to do 
otherwise. This is clearly emphasized in 
the rate curves on any series of charts that 
I have made in actual practice, and it is of 
{Continued on page 34) 


June 30, 1934 Motion Picture Herald 15 



A digest of regula- 
tions and court de- 
cision governing the 
use of billboards, 
signs and other ex- 
ploitation mediums 

ALMOST ALL States have 
enacted laws which prohibit false or mis- 
leading advertising. Generally, such laws 
provide imprisonment or fines, or both, as 
penalties for violators. Also, laws are 
common which prohibit publication or dis- 
tribution of obscene or vulgar advertising. 

When deciding whether a theatre oper- 
ator has violated a law of this kind, the 
court considers testimony of disinterested 
witnesses who have read or seen the ad- 
vertisement in litigation. In many cases 
expert witnesses also are required to tes- 
tify particularly if the advertisement may 
be listed under the classification of art. 


IN OTHER localities laws 
have been enacted which prohibit billboard 
advertising, either on the grounds of fire 
hazard or marring natural beauty of scenic 

Laws which relate to the erection and 
jTiaintenance of billboards originate from 
several sources, of which the state Legis- 
latures and municipal Councils are impor- 
tant. After a law is enacted it is deemed 
valid until it is declared void. Moreover, 
if a law is designed to safeguard the public 
welfare and is in exercise of the "police 
power," the courts may render a decision 
in favor of its validity even though ap- 
parently it interferes with the personal 
rights guaranteed by the Constitution. 

For instance, in a quite recently decided 
case that involved the legality of a law 
which prohibited the construction and main- 
tenance of billboards on a specified city 
street, the court held the law valid and 
explained that for a class legislation of 
this kind to be valid the law must have 
a tendency to support a public need and 
it must prove beneficial to the general 

In another case an ordinance which 
prohibited the erection of signs or other 
obstructions "on or over any part of a 
specified street" was in litigation. A prop- 
erty owner ignored the law and erected 
^ large sign on his lot. The city instituted 

legal proceedings against him for violating 
the ordinance. The advertiser contended 
that the ordinance was invalid and uncon- 
stitutional because it was not intended nor 
adapted to safeguard public health, safety, 
morals, habits or improve the general wel- 

However, the court held the ordinance 
valid and explained that the public has 
a legal right to restrict the maintenance 
of signs in a particular or special locality. 

In still another case, where the legality 
of the law prohibiting erection of signs 
in a residential section was being tested, 
the court took the viewpoint that the 
erection of billboards in the specified lo- 
cality would increase the hazards of fire 
and might tend to make a fire more de- 
structive to life and property because its 
extinguishment would be accomplished 
with greater difficulty. The argument was, 
also, presented that a large number of 
women and children are on the streets un- 
accompanied in a residential district and 
the signs caused heavy shadows which in- 
creased the dangers. 

The counsel which opposed the ordi- 
nance introduced testimony to show that 
in many instances lights were maintained 
on the front of billboards, as a result of 
which the residential district was better 
illuminated with the signs than without 
them. Notwithstanding this argument the 
court held the law valid. 


A LAW IS invalid if it dis- 
criminates. In other words, a valid law 
must be for the purpose of benefiting the 
people generally. 

For example, a recent city ordinance 
prohibited the erection of any kind of 
signs for advertising purposes within 500 
feet of a public park or boulevard. This 
law was tested and held invalid by the 
courts simply because it did not tend to 
promote the safety, health and general wel- 
fare of the public. 

Therefore the important thing in deter- 
mining whether a law is valid which pro- 
hibits signs or billboards in a particular 
section, is whether the effect of the law 
is to protect the health, or improve the 
morals, welfare and safety conditions, or in 
some manner advantageously benefit the 

For illustration, in a leading case it was 
disclosed that a city had passed an imrea- 
sonable law. The court held the law 
invalid and said that a city has power to 
enact reasonable ordinances only and that 
the court will annul ordinances which are 
unreasonable, illegal, repugnant or dis- 

An example of an invalid state law is 
one which prohibits billboards and signs 
to be erected "in the Southern portion of 
the State." This law places a handicap on 
only a few residents, as a result of which 
others are favored. 


MANY OF THE suits in- 
volving regulations for the erection and 
maintenance of billboards are based on 
the Fourteenth Amendment to the United 
States Constitution, which in part reads: 
"No State shall make or enforce any 
law which shall abridge the privilege or 
''mmunities of citizens of the United States, 
nor shall any State deprive any person of 
life, liberty or property . . . nor deny to 
any person . . . the equal protection of 
the law." 

However, a court recently held that the 
Fourteenth Amendment of the United 
States Constitution was not originally in- 
tended to curtail the rights of a State 
under its natural police power to decide 
what is and what is not a reasonable regu- 
lation essential to the promotion of the 
welfare, morals, health and good order of 
the people. 

Still another court explained that every 


LOW VOLTAGE.— Low voifage on 
a single phase motor is the cause of 
plenty of grief for maintenance men. 
It Is important, on a motor installa- 
tion, that sufficiently large wire be 
used to reduce voltage drop to drop 
to a minimum. A motor will operate 
satisfactorily when loaded to its 
rated horsepower, the frequency Is 
up, and the voltage Is not more than 
10% below or above the voltage 
marked on the name plate, but not 
necessarily In accordance with the 
standards that were established for 
Its operation at the voltage for which 
It was designed. The same Is true 
when a motor Is operated at Its 
rated horsepower and voltage, pro- 
vided the frequency does not vary 
more than 5% over or under the fre- 
quency on the name plate. 

* Wrife us your electrical prob- 

lem. An expert reply will be 
promptly Electrographed. 


Better Theatres Section 

June 30, 1934 

owner of a business or property holds the 
title with the knowledge that such prop- 
erty may be regulated by the government, 
so that it shall not be maintained or oper- 
ated in such a manner that the enjoyment 
or safety of a majority of other persons 
is jeopardized; and, further, that all pri- 
vate property in the United States is 
derived directly or indirectly from the 
government and subject to legal regulations 
ivhich are necessary to the common good 
and general welfare of the inhabitants. 

Recently a court said, "Police power is 
that inherent sovereignty which the gov- 
ernment exercises whenever regulations are 
demanded by public policy for the benefit 

of society at large, in order to guard its 
morals, safety, health and the like, in 
accordance with the needs of civilization." 

Another court stated that the meaning 
of the term "police power" is indefinable 
because a court cannot foresee the ever 
changing conditions of the country, but 
that the term is generally conceded to mean 
the necessary power for the safety and 
welfare of the public. 


SINCE IT IS customary for 
many theatre owners to distribute circulars 
for the purpose of advertising special fea- 

tures, it is important to know that while 
a law is valid which requires circular dis- 
tributors to obtain a license, yet a law is 
void which is intended to regulate distribu- 
tion of circulars in stores or prevent adver- 
tisers from handing the circulars to pedes- 


For instance, in Almassi v. City of New- 
ark (150 Atl. 217, Newark, N. J.) it 
was disclosed that a city ordinance prohibits 
unlicensed "distributing or circulating post- 
ers, circulars, hand bills, samples, printed 
or engraved notices or other advertisements 
of any kind" in the streets. 

A person who failed to obtain a license 
to distribute circulars was arrested and 
convicted of violating the ordinance. He 
appealed to the higher court on the 
grounds that the law was invalid. How- 
ever, the higher court held the law valid, 
saying : 


"Had the city a right to enact such an 
ordinance? Has the city such right of 
supervision over its streets as to provide 
for the licensing of persons desiring to use 
them for the distribution of circular no- 
tices? . . . Circulars may be in such quan- 
tity and of such size and character as to 
render the streets so unsightly as to be 
almost universally objectionable, entailing 
substantial expense to the city in clearing 
them away. It is obvious the city must 
exercise some control of the subject, and 
an ordinance requiring a license is a reason- 
able police regulation." 

On the other hand, it is important to 
know that a city cannot enact a valid 
ordinance regulating distribution of cir- 
culars in stores or handing them to indi- 

For example, in Coughlin v. Sullivan 
(126 Atl. 177, Jersey City, N. J.), the 
question presented the court was whether 
the distribution of pamphlets in stores and 
the giving of one pamphlet to a pedestrian 
on the street violated an ordinance prohibit- 
ing the distribution of pamphlets in the 
public streets. It was held that these acts 
did not in any manner violate that or- 



that a municipal corporation possesses and 
can exercise only those powers which are 
granted in express words by State laws 
or which are necessarily implied in or 
incident to the powers expressly granted, 
and such as are essential. 


For illustration, in City of Chicago v. 
Schultz (173 N. E. 276, Chicago, 111.), it 
was disclosed that a municipal ordinance 
provides that it shall be unlawful for any 
person, firm or corporation, whether a 
licensed bill-poster or sign painter or not, 
to distribute "any circular, dodger, hand- 
bills, pamphlet, card, picture, or any ad- 
(Continued on page 31) 




A NOTE OR DRAFT, if it is d rawn in the form outlined by me 
last month, has certain definite legal advantages over other forms of contracts; 
namely, negotiability, or the quality of being free from question by reason of 
the transactions between the original parties. 

Now while an ordinary contract may be assigned to a third party, the third 
party takes it subject to any defenses which might be raised against the party 
assigning the contract to him. In the case of negotiable Instruments, however, 
the assignee, or third party, may acquire greater rights than the party assigning 
the note or draft to him. 

For example, If Smith by pointing a gun at Jones, forces him to sign a con- 
tract and then assigns the contract to Brown, an Innocent third party, Jones can 
defend an action on the contract by Brown on the ground that he had signed It 
under duress. But, If Instead of forcing Jones to sign a contract, Smith forces 
him to sign a note and then endorses it to Brown, the innocent third party, duress 
would not be a defense to an action on the note by Brown against Jones, though 
It would be If Smith sued Jones on the note. 

In the law of negotiable Instruments, an Innocent third party Is known as a 
holder In due course. To qualify as a holder In due course and to enjoy the 
privileges of that position, a party must receive a note or draft under the follow- 
ing conditions: 

1. That the Instrument Is complete and regular upon Its face. 

2. That he becomes the holder of the Instrument before it Is overdue and 
without knowing that It had previously been dishonored, if such was the case. 

3. That he takes It In good faith and gives value for It. 

4. That when he takes It, he has no notice of any defect in the Instrument or 
any defect In the title to the Instrument of the person from whom he receives it. 

5. If the Instrument Is payable on demand and Is received by a third person 
an unreasonable length of time after its issue, the holder is not considered to be 
a holder In due course. 

Among the defenses which cannot be raised as against a holder In due course 
are the following: 

1. That the maker of the Instrument was fraudulently Induced to make it. 

2. That the maker was forcibly compelled to make the instrument. 

3. That the instrument was stolen. 

4. That the party originally receiving the instrument never gave value or con- 
sideration for it. 

5. That the instrument was paid before It became due. 

Of course, If the holder of the instrument who claims to be a holder In due 
course, knows of the existence of any of these facts before he takes it, he cannot 
be considered to be a holder In due course. Furthermore, even against a holder 
In due course certain defenses exist and their effect is to make the Instrument 
void. They are: 

1 . Forgery. 

2. Payment of the Instrument after maturity. 

3. The fact that the party originally making the instrument is under age. 

4. The fact that the maker or endorser had no authority to make or endorse 
the instrument. 

5. In some states the fact that the consideration was Illegal (for example, a 
note given In payment for committing a crime). 

June 30, 1934 Motion Picture Herald 17 




By C. C. POTWIN and S. K. WOLF 

How the variation in 
frequency rates, aud- 
itorium design and 
other factors deter- 
mine what will make 
efficient treatment 

IN THE EARLY Stages ot 
sound reproduction in theatres, the prob- 
lem of acoustics was not considered of 
primary importance. The average show- 
man was at that time satisfied if the sound 
in his theatre was reasonably intelligible. 
In general, acoustic treatment would not 
be considered unless reverberation was ex- 
cessive under all audience conditions, 
resulting in an appreciable loss in box-office 
receipts. Technical advances in the science 
of sound reproduction, together with the 
public's appreciation of improved quality, 
have led to a keener competition between 
most exhibitors. 

Today, it is practically impossible to 
operate a theatre at a financial gain unless 
the sound quality reaches an acceptable 
standard set forth by the general public. 
Exhibitors are coming to realize this fact 
and are taking all possible steps to rectify 
such acoustic defects as are apparent in 
their particular theatres. It is the purpose 
of this article to provide a somewhat clearer 
understanding of the acoustic requirements 
of theatres and to explain the chief factors 
determining the selection of acoustic 
materials for treatment. 

One of the more recent improvements 
in sound reproducing systems is the exten- 
sion of the frequency range of reproduc- 
tion. For example, the former systems 
responded faithfully to frequencies ranging 
from approximately 75 to 5,000 cycles per 
second, whereas in the more modern 
systems, this range is extended an octave 
below and above to include frequencies 
from approximately 50 to 8,500 cycles per 
second. One who is not familiar with the 

technicalities will inquire as to the princi- 
pal advantage gained by so extending the 
response range. This can best be demon- 
strated by a listening test which, if per- 
formed in an acoustically correct audi- 
torium, will readily indicate a response 
more in agreement with direct speech and 
music. Extension in the lower range 
improves the quality of the reproduced 
bass tones, and the extended upper range 
makes possible the reproduction of more of 
the overtones and harmonics. These ex- 
tremely low and high tones lend depth, 
brilliance, and added naturalness to repro- 
duced sound. Satisfactory usage of these 
modern systems can be obtained only where 
there is a proper balance of acoustic absorp- 
tion within the theatre. The reverberation 
time must be within definite limits for all 
frequencies, rather than for only a limited 
portion of the frequency range. 



IN THE PAST, and even to 
the present day, exhibitors in general have 
been led to believe that the relative absorp- 
tion value of an acoustic material at 512 
cycles per second is the most important 
factor in theatre treatment. Little con- 
sideration has thereby been given to the 
absorption value of a material at other 
frequencies. As a result, materials have 
been installed frequently which provide a 
large amount of absorption at 512 cycles 
per second and throughout the higher 
frequency range, but which have a rela- 
tively small absorption value at the lower 
frequencies. Where large quantities of 
such materials are installed in a theatre, 
there is a resulting "boomy" effect, or con- 
dition of low frequency reverberation, as 
well as a certain flatness or lack of bril- 
liance throughout the high frequencies. 
Figure 1 shows the absorption charac- 
teristic of a material of this particular type 
{Type B) compared with a material 
{Type A) having a more uniform and 
more desirable characteristic. It will be 
noted that although both materials have 
the same absorption value at 512 cycles 
per second, the average absorption through- 
out the low frequencies of material B is 

only about one-fourth of its respective value 
at the high frequencies, whereas for ma- 
terial A this relative variation is above 

Very few, if any, materials have abso- 
lutely flat characteristics or identical ab- 
sorption values throughout the entire 
frequency range. It has been determined 
by careful experimentation that the ear 
will tolerate or accept a proportionately 
greater amount of low-frequency than 
high-frequency reverberation. Since this 
variation must be kept within certain defi- 
nite limits, we cannot make exclusive use 
of a material, having characteristics 
equivalent to the Type B material, in the 
average theatre. 


For example, let us consider a theatre 
of average size, or about 150,000 cubic feet, 
having satisfactory proportions, equipped 
with reasonably efficient upholstered seats 
and carpet, and treated to a suitable opti- 
mum time at 512 cycles per second 
(omitting consideration of other frequen- 
cies) with a material having characteristics 
equivalent to those of Type B in Figure 1. 
The computed reverberation characteristic 
under these conditions, compared with the 
selected optimum frequency band, or best 
limits of reverberation time for this par- 
ticular volume and shape, is shown as the 
dotted curve in Figure 2. The deviations 
from the optimum band at the low and 
high frequencies are most apparent, and it 
can be readily understood that the theatre 
treated with such a material would be 
"boomy" and lacking in brilliance even 
though a former type of reproducing 
system with a corresponding narrower 
range of frequency response were used. 

If a modern system, with its greater 
range of frequency reproduction, is installed 
in this theatre these defects will be greatly 
exaggerated. When such a characteristic 
is encountered with the installation of a 
later type system, and when the exhibitor 
is reluctant about making any change in 
the treatment, it is frequently necessary to 
mechanically "filter out" or attenuate cer- 
tain of the extremely low frequencies. 
This further sacrifices the added quality of 


Better Theatres Section 

June 30, 1934 

naturalness which is gained from the im- 
proved system. The reverberation charac- 
teristic of the same theatre, treated with a 
material equivalent to Type A in Figure 1, 
is shown as the solid curve in Figure 2. It 
can be seen that this is well within the 

one-half of its average value at the higher 
frequencies. Where several different types 
of materials are used, their combined aver- 
age absorption should approximate this 
proportionate ratio. This is a very general 
statement, however, and it must be borne 
































Figure I 

selected optimum limits for the full fre- 
quency range, and under these conditions 
the theatre should be very satisfactory for 
sound reproduction, using either the former 
or improved type of sound system. 


DUE TO THE wide differ- 
ences in size, shape, interior furnishings, etc., 
of theatres, it is impossible to specify a ma- 
terial having one particular frequency ab- 
sorption characteristics which would be 
adequate for all theatre treatment. In 
certain cases, particularly those involving 
new construction, where the architect 
favors materials which may be incorporated 
readily in the decorative scheme, it is often 
necessary to use as many as three materials 
to secure a proper balance of absorption as 
well as the architectural effect desired. 
However, in a theatre of satisfactory pro- 
portions which is equipped with efficient 
upholstered seats and the usual amount of 
carpet and drapes, the use of a material 
having an average contour of characteristic, 
which is in reasonably close agreement with 
that of material A, will insure a proper 
balance of absorption. In other words, the 
average absorption value at the lower fre- 
quencies should preferably not be less than 

in mind that a detailed analysis, covering 
the full frequency range, must be made of 
each individual case to determine the exact 
characteristics of the treatment required. 

Most acoustic materials now available on 
the market have been tested at octave inter- 
vals ranging from 128 to 4,096 cycles per 
second. It is possible, therefore, when 
selecting a material, to judge its efficiency 
at other frequencies as well as at 512 cycles 
per second. In view of the extension of 
the frequency range of reproducing systems, 
it is considered advisable to extend the test- 
ing range one octave below and one above 
the present band; i. e., from 64 to 8,196 
cycles per second. Several recognized 
laboratories are now equipped to conduct 
such tests and it is believed that in the 
future more of the material manufacturers 
will make use of their facilities. 


teristics of most materials are appreciably 
affected by the manner of mounting — 
whether they be applied to furring strips 
or directly to a surface. It is, therefore, of 
particular importance that the method of 
mounting be in agreement with that used 

in the test. This will insure equivalent 
results after installing the material selected. 
The low frequency absorption of acoustic 
tiles, boards and felts is generally increased 
by mounting these materials on furring 
strips. This varies considerably, however, 
depending on the type and thickness of the 

The careful selection of materials with 
respect to their acoustic characteristics has 
been considered of primary importance for 
some time — even prior to the recent im- 
provements in sound systems. Acoustical 
engineers have considered this as well as 
the other requirements in selecting ma- 
terials for theatre treatment. They gener- 
ally undertake a complete analysis of the 
house at octave intervals throughout the 
frequency range. This is made possible 
through the use of more recently developed 
theoretical formulae. Accurate instrumen- 
tal measurements of the action and decay 
of sound energy, at various frequencies, can 
also be made within the theatre. These are 
of particular value in solving certain com- 
plex problems and in checking the theoreti- 
cal analysis. 


THE FACTORS and precau- 
tions, other than the proper selection of 
materials, which should be taken into con- 
sideration in the acoustical design and treat- 
ment of theatres, are too numerous to men- 
tion here in complete detail. A few of 
particular importance, which have not been 
too frequently discussed in previous 
articles on the subject, are, however, 
included below. 


The proportions of a theatre have a defi- 
nite bearing on the resulting acoustic con- 
dition, and it has been found that, in 
general, the best distribution of sound 
energy is obtained where the ratio of 
height to width to length is in the order of 
2 :3 :5, respectively. 

It is not always possible to adhere 
strictly to a correct ratio of proportions in 
design since the architect may be limited 
with respect to lot size and other require- 
ments of the theatre structure. This 
factor is of particular importance, however, 
and should, where possible, be given care- 
ful consideration. 


Proper backstage treatment is an impor- 
tant consideration in most theatres, par- 
ticularly in those which have been designed 
with large stages to accommodate theatri- 
cal presentations. Complete separation of 
the backstage volume from the auditorium 
proper is frequently required in such cases 
to insure against any increase in reverbera- 
tion caused by reflections of sound energv 
from within this area. In theatres with 
small stages, it is generally desirable to 
install an efficient form of acoustic treat- 
ment behind the horns. 


The importance of using efficiently up- 
holstered seats cannot be too strongly 

June 30, 1934 

Motion Picture Herald 




Figure 2 

emphasized since the variation in absorp- 
tion, due to a change in the number of per- 
sons in the audience, is principally depen- 
dent upon this factor. For the most satis- 
factory results, this should be a minimum 
variation. The use of non-upholstered 
seats should, therefore, be avoided. Where 
such inefficient seats are used, and replace- 
ment is not economically possible, it is 
generally preferable to concentrate at least 
a part of the required acoustic treatment 
on the ceiling surface. 


When installing treatment on wall sur- 
faces, it is preferable to carry it down to 
within approximately 4 feet above the Boor, 
if this can be accomplished without seri- 
ously interfering with the existing decora- 
tive scheme. This low wall treatment is 
in many cases of equal importance to the 
treatment of other sections of the surfaces, 
since it is effective in reducing sound reflec- 
tions in the vicinity of the audience. 

The exhibitor should bear in mind that, 
from the standpoint of economy, the im- 
portant consideration is not the cost per 
unit of absorption at 512 cycles per second, 
but rather its relative efficiency through- 
out the frequency range. It is more eco- 
nomical and profitable to install the correct 
treatment, regardless of the fact that it 
may be more expensive, than a less efficient 
type. In many cases where this principle 
has been disregarded, it has been necessary 
to remove the material installed and replace 
it with a type having the required efficiency. 

This involves considerably more time and 
expense than is necessary. In order that 
the exhibitor may be assured of a thorough 
analysis of his acoustic problems and of 
receiving correct specifications for treat- 

ment, it is suggested that he present his case 
to an unbiased acoustical consultant, or to 
a concern which is familiar with the 
present day requirements, before installing 
treatment in his particular theatre. 

Lower Operating Costs . . . 

Finer Reproduction! 

• You will enjoy materially reduced 
hourly operating cost with SYLVANIA 
Sound tubes. Scores of theatres now 
using them can attest to this fact. Types 
242-A and 205-D employ the exclusive 
SYLVANIA Graphite Anode construction 
with its many inherent advantages. 
Type 264-B is a non-microphonic tube 
for use in head amplifiers. Rigid con- 
struction and special filament mounting 
eliminate the noise sources common to 

Type 205D 

tubes of this type now on the market. 

Hygrade Sylvania Corporation also 
manufactures three types of photo- 
tubes for use in theatre sound equip- 
ment. These are the types 803-A, 868 
and 814-A. Engineering information is 
available on request. 

Consult your supply house or we will be 
glad to furnish complete technical infor- 
mation directly from our Clifton office. 









Better Theatres Section 

June 30, 1934 





letter from Gordon D. Mitchell, manager 
of the Research Council of the Academy of 
Motion Picture Arts and Sciences. The 
letter is long, but I propose quoting it in 
full for the reason that it displays an 
honest desire to co-operate and to give 
honest service. 

When the Academy put through the 
Standard Release Print, the initial at- 
tempt was made in a manner that in- 
stantly set up very natural resentment, 
since it implied a lack of interest in ob- 
taining the advice of theatre people. The 
Council evidently does not propose pro- 
ceeding along those lines, vi'hich is good. 
Theatre folk and those who have toiled 
hard in the motion picture exhibition field 
for, lo, these many years, have a feeling 
that they should be consulted when mat- 
ters directly affecting projection and the 
theatre are up for consideration and action. 

My compliments to Mr. Mitchell and 
the Council. May I suggest to projec- 
tionists who feel they can offer construct- 
tive advice in the matter of reel load 
length, that they communicate with the 
Council at once. Mr. Mitchell says in a 
part of his letter: 

"First may I express the appreciation of 
the Academy Research Council for the 
very fine story covering the recent revision 
of the Standard Release Print. As you 
know, we are again studying the problem 
of reel length, which is of very vital con- 
cern to all branches of the industry — pro- 
duction, distribution and exhibition. In 
connection with this investigation there 
seems to have been considerable misunder- 
standing on the part of many technicians 
in the East. The idea seems to be preva- 
lent that the Academy has finally recom- 
mended a 1,700-foot reel for adoption by 
the industry. 

"The fact of the matter is, however, 
that we have not as yet made any formal 
recommendation as to reel length change, 
but are studying the 1,700-foot length as 
a tentative length only. The subcommit- 
tee is still considering all factors before a 
final recommendatioo covering the future 
adoption of a longer length reel will be 
presented to the Research Council. 

"As you know, into consideration in any 
project of this kind there enter many prob- 

lems concerned with laboratory practice, 
editing of the picture, shipping regula- 
tions, wax recording problems, storage 
facilities, projection considerations, film 
shipping regulations in foreign countries, 
projection practice and equipment in 
foreign countries, etc. 

"I have been asked by the Research 
Council to point out to you and, through 
you, to the thousands of your projection- 
ist followers, that we at all times welcome 
co-operation from the projectionist end of 
the industry, and that the Reel Length 
Subcommittee is giving consideration to 
every opinion and every factor presented 
to it. 

"We would appreciate any comment on 
this that you may care to give in your 
columns and especially would appreciate 
it if you will stress the fact that any pro- 
jectionist opinion on reel length, or any 
of our other projects, will be given care- 
ful consideration at any time by our or- 

"As you know, technical progress will 
only be made through a very active co- 
operation between the branches of the in- 
dustry, and a complete understanding by 
the various branches of the problems of 
the others. In this connection, anything 
which you may be able to do to bring out 
the fact that we in the production end of 
the business, are cognizant of the impor- 
tance of the projection end and the value 
of the opinions arising there, will be of 
great help." 

My reaction to the whole matter is that 
the one highly important thing is to make 

Other Articles 

In addi+ion to the material on this 

page, Mr. Richardson's columns of 
this issue also contain: 


And Aberration Page 22 

The Soft Focus Curse Page 23 

Permissible Lens Height Page 24 

A New Sound Projector Page 24 

it possible to get the best results before 
theatre audiences. I believe we may all 
agree that that is the basic, fundamental 
problem of the motion picture industry 
at all times. 

We won't bother discussing the wrongs 
or rights of it. That would just waste 
space. The fact is that a very large per- 
centage of projectionists do double up reels. 
The fact is that they have a basically 
sound reason for so doing. The fact is 
that as things now are, the practice can- 
not be stopped. The fact is that "doubling 
up" does work to the injury of both pic- 
ture and sound in feature photoplays. And 
there you are ! 

What is to be done about it? The 
answer is that if the best results are to be 
obtained, reel lengths must be made so 
that there will be no doubling. Other- 
wise no good will come from any reform, 
and we'll be right where we were before 
— or worse. 

The best authority we have in projec- 
tion matters at present is the Projection 
Practice Committee of the Society of Mo- 
tion Picture Engineers, which body has 
given the matter of reel length very serious 
consideration and has decided that with 
anything less than a 2,000-foot reel we 
cannot be assured that doubling will be 
wholly stopped. I am a member of the 
committee and concur in that view. My 
opinion is, and for many years has been, 
that feature films should reach theatres in 
2,000-foot lengths. It would be unwise, 
I am very sure, to make so important a 
change in a way that would not cure the 
ill, and cure it wholly. 


FROM THE Sales-on-Sound 
Corporation of New York City, we have 
this communication. 

"We recently received a most interesting 
letter from a customer which we believe 
would, in conjunction with our reply 
thereto, be of value in your department of 
Better Theatres. Here it is : 





New and Better 
Projection for the Theatre 



L Silent Chain Drive — Throughout, insuring 
long wear, and no meshed gear warbles. 

2» Rear Barrel Shutter — more illumination- 
no flicker — forced cooling at aperture. 

3* Framing — straight pull from aperture to 
intermittent, insuring rock steady picture 
and less film wear. 

4* Construction — amazingly simplified — many 
less parts — instant interchangeability. 

5* Extreme Simplicity — results in manufactur- 
ing economy passed on to the exhibitor. 

Upper part DeVry 
Theatre Sound Projector 
Arc Light Model 



1111 Center St., Chicago 347 Madison Ave., New York 

Details on Request 


Better Theatres Section 

June 30, 1934 

5TAGE Lighting 

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St., Rochester, N. Y 

" 'With regard to the trouble we are 
having, while it may sound like one of 
Ripley's "believe-it-or-nots," the scratching 
and popping noise in our sound has been 
traced to automobiles, the worst offenders 
being the latest type cars, particularly 
Buicks and Chevrolets. Older type cars, 
and cars equipped with radios, do not pro- 
duce the trouble. 

" 'Our projection room is on the second 
floor, next the street. Cars such as de- 
scribed in passing, cause a popping and 
scratching, but the greatest annoyance 
arises from parked cars when their engines 
are being started. 

" 'We are able to get some relief by 
cutting out the high frequencies with the 
tone control, but this is only partially ef- 
fective and operates, of course, to depre- 
ciate the sound values. Will you kindly 
place this before your engineers and see if 
any remedy can be provided, since the am- 
plifier is almost valueless. It is very simi- 
lar to static in its effect. When engines 
are being cranked we can hear almost 
nothing at all except, of course, the noise. 
In fact we are obliged to use an old type 
amplifier, which it does not affect. The 
noise is picked up by the exciter lamp or 
photocell, or by both. Any suggestion will 
be appreciated.' " 

The Sound-on-Film Corporation replied 
as follows: "Your complaint about the 
pick-up' from automobiles in the street, 
is the strangest thing which has ever been 
put up to us. However, we believe that 
this can be remedied by using an efficient 
a.c. line filter, as described on the set of 
instruction sheets which we are mailing 
you separately. 

"The explanation is this: The only pos- 
sible points where this 'pickup' could have 
an effect are the photocell leads and the 
exciter lamp leads from the amplifier to 
the projectors. It is hardly likely that the 
arcing in the automobile ignition system 
would jump that far. Therefore, the 
trouble is most likely being transmitted 
through your a. c. line, with either the 
front of your building, the marquee or 
some other surface collecting the static dis- 
turbances, and thus transmitting them 
right to your amplifier through the elec- 
trical wiring of the building." 

This seemed a most interesting problem 
and, desiring to obtain all possible knowl- 
edge concerning it, I transmitted the en- 
tire matter to Lester Isaac, Director of 
Projection of Loew's, Inc., who in turn 
handed it over to one of his most able 
sound engineers, F. W. Boettcher, who re- 
ported as follows, the report being ap- 
proved by Mr. Isaac: 

"Re: attached correspondence from Mr. 
Richardson, automobile ignition equip- 
ment represents a source of interference 
from the spark plug discharge in the form 
of electro-magnetic waves. 

"I would assume from the letter of 
complaint that proximity of the projection 
booth sound wiring to automobiles being 
started directly in front and one story 
under the booth, proves conclusively that 
the sound wiring and associated circuits 
are directly in the electro-magnetic field 
of automobile ignition systems. 

"Possible remedies: Complete analysis 
of wiring of associated sound-on-film re- 
producing equipment, replacing all speech 
circuits with properly ground lead or Bel- 
den shield conductors. A checkup of pre- 
liminary amplifier vacuum tube circuits to 
determine if any of these voltage stages 
through resonance conditions of their grid 
and plate circuits may be in an oscillating 
condition. Proper grounding of all elec- 
tro-magnetic and electro-static shields to 
common ground conductor, properly at- 
tached to a water pipe which may either 
be connected to a street main water supply 
or well. 

"While this condition might also be 
caused by coupling through defective a.c. 
lighting circuits, we feel quite sure that 
the fundamental cause of the noise re- 
sponse lies in the sound reproducing system 
itself directly." 



Vancouver, B. C, asks: "Will you be 
kind enough to explain just what is meant 
by 'refractive index'? I find it used in 
optical text books, but with no explanation 
I am unable to understand. I also would 
deeply appreciate an explanation, in gen- 
eral terms, of the refraction of light and 
of chromatic aberration. I cannot seem 
to absorb these things as explained in op- 
tical text books. 

"I am studying with the hope that some 
day I may be able to enter the field of 
projection and do credit to it. That is 
some while in the future, though, as I 
still am in High school. I have your Blue- 
book of Projection and study your Blue- 
book School and Better Theatres com- 
ments. I also have three other projection 
books and one projection publication, 
which latter a friend lends to me each 
week when he has finished with it. Frank- 
ly, Mr. Richardson, I don't mind saying 
I have learned far more from your books 
and departments than I have from all the 
rest combined." 

Friend Garrison, I appreciate your 
friendly commendation of my work. May 
I continue to merit your good opinion. I 
must "land" on you for one thing, how- 
ever, and that is your signature. All I 
can say is that it comes nearer looking 
like Garrison than anything else. 

As to refraction of light, if a ray meets 
traveling through air a polished glass 
surface exactly at right angles, there is no 
refraction. The speed of the light will, 
however, be retarded, since the denser the 
medium light travels through, the slower 
its speed, and of course glass is much 
denser than air. 

But if light reaches glass at any angle 
other than a right angle, the edge of it 
striking the surface first will be retarded, 
while the rest of the light will travel at 
regular air speed until it reaches the glass, 
hence the light will be bent or refracted 
an amount dependent upon the relative 
density of air and glass. This is illustrated 
in Figure 1. 

Chromatic aberration is due to the fact 

June 30, 1934 

Motion Picture Herald 


that white light is a combination of many 
colors, each of which has a different wave 
length. It then follows that unless a lens 
be so corrected that all the various wave 
lengths will be focused at the same plane, 
then they will focus at different planes. 

DRh'HH o/y M nhcemFscfi^LB to 


Figure I 

For example, violet will focus nearer the 
lens than green, and green closer than red. 

As to refractive index, you will remem- 
ber I have said light is refracted because 
of a difference in density of mediums and 
therefore the speed of light passing through 
them. There is, "believe it or not," a 
difference in the density of various glasses. 
The refractive index of any glass is the 
amount of refraction it will give to light 
entering at an angle, as compared with the 
angle at which it enters the glass. Exam- 
ining figure 2 we see line BB which is a 
line exactly perpendicular to the surfaces 



h j 


Figure 2 

of glass A. Now if ray C enter the glass 
at the angle shown, and we measure angle 
D and angle E, the difference between 
them will represent the refractive index. 


studio folk conceive an idea, and without 
apparently either knowledge of its effect 

RESULTS tell the Story 

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Of even greater interest and sig- 
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reproduce letters from owners who 
have tried our speakers and found 
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Better Theatres Section 

June 30, 1934 


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4829 So. Kedzie Ave. Chicago, 111. 

or caring Adam about what it will be, 
spring their brain child on the helpless 
ones of the projection room, upon exhibi- 
tors and upon the public. For example, 
the soft focus, which is presumed to be 
enormously artistic, but really is a pro- 
ducer of strained eyes more than anything 

The average theatre patron who looks 
for any substantial period of time at a 
soft focus image can note eye strain. He 
instantly ascribes what he translates into 
a fault, to that numbskull up in the pro- 
jection room who doesn't know enough to 
sharpen the focus. He sometimes makes a 
more or less vigorous kick to the manager, 
and the manager not infrequently burns 
up the projection room phone wires regis- 
tering his own kick. 

As a matter of fact, cases have been 
known in which a manager had to be 
taken to the projection room to watch a 
sharp focus scene jump from that to an 
eye burning soft-focus smear and back 
again, before he would believe the fault 
was in the film and not chargeable to the 

And after all, why the soft focus? A 
short soft-focus scene might possibly cre- 
ate some little added beauty, provided the 
audience and the manager knew what it 
was all about. However, while such a 
thing may appeal to the artistic, as a gen- 
eral thing it most emphatically does not 
appeal to Mr. and Mrs. Plain Citizen. 
Why, then, annoy fifty people to please, 
perhaps, possibly one individual ? 


FROM D. R. Simons of 
Denver, Col., comes this inquiry : 

"I am contemplating the erection of a 
theatre a little later here in Denver. May 
I ask you how high above the screen cen- 
ter the lenses may be without too much 
damage to the picture through distortion. 
Also what material is best for projection 
room walls that does not have too much 
weight. I have talked with several sup- 
posed-to-be expert men, only to get as 
many different answers. I feel that if you 
will advise me the advice will be the best 
available because of your position and the 
many years vou have had ample oppor- 
tunity for observation, and you have no 
commercial axe to grind." 

As to height of lenses, or in other words 
height of projection room floor, it should 
be no more than will produce a 5% in- 
crease in picture height through distortion, 
which of course works out to reduce pro- 
jection room height as projection distance 
is reduced. In other words, the room floor 
may be higher at 100 than at 50 feet 
projection distance. 

As to materials for building the room, 
I consider hollow tile not less than six 
inches thick, set in strong lime-tempered 
cement mortar, as the best material avail- 
able. It is strong, relatively light in 
weight, does not store either heat or cold 
excessively, and properly laid and covered 
inside (and preferably outside as well, 

though the latter is not really essential- — 
just a sort of assurance of absolute safety) 
with a good sound-absorbing, fireproof 
material, is pretty thoroughly sound-proof. 

However, in laying the tile it is essen- 
tial that good mortar be used — say, three 
parts sharp sand to one of ffood cement, 
with sufficient lime added to make it work 
smoothly. It is also essential that the tile 
be set solidly in mortar, not be just a 
hit-or-miss affair. 

However, you object to too much 
weight, which leads me to think you may 
be considering the use of a none-too-strong 
carrying support. Let me warn you. 
Friend Simons, that unless you want 
trouble, be very sure that whatever tht 
support is, it will be able to carry the floor 
without any vibration whatsoever. The 
projection room floor must be perfectly 
solid so as not to vibrate. 

By the way, hollow tile may be used for 
the ceiling if desired. It can be laid be- 
tween light I-beams, or even by T-irons, 
the necessary depth of which will of course 
depend entirely upon depth of room, front 
to back. For a 10-foot depth, 3-inch T- 
irons between each two rows of tile should 
be quite sufficient. If the room depth be 
in excess of 10 feet, possibly 4-inch irons 
would be necessary, thought I think not. 


A. DeVry of Chicago, is out with a new 
model professional mption picture-sound 
projector, and when DeVry puts out an 
equipment it is deserving of very serious 
consideration. The design of the new 
projector, judged from the maker's descrip- 
tion, is along the lines of simplicity — very 
much so. Proceeding on the theory that 
gears set up warbles and other sound inter- 
ferences, Mr. DeVry has eliminated the 
usual gear train and substituted silent chain 
drive. There is not a mesh gear in the 

The shutter is of the "barrel" type, for 
which DeVry makes extensive claims. I 
have not as yet had opportunity to per- 
sonally examine the mechanism, hence 
cannot either affirm or dispute these claims. 

The face of the intermittent sprocket is 
in exact vertical line with the film tracks 
of the aperture plate, and all sprockets 
engage from six to ten sprocket holes. 
Framing is accomplished without affecting 
the shutter timing. 

The new DeVry projector is built as a 
picture-sound unit, which of course could 
possibly have advantages as against pro- 
jectors to which the sound attachment must 
be added. Aperture ventilation is accom- 
plished by the rotating shutter, though just 
to what extent I am not as yet advised. 

lUuminants include a standard arc lamp 
of latest design for the projection light 
source, or if preferred, the DeVry Mazda 
lamp equipment, which may be had in 
1,000- or 1,500-watt, 110-volts; or 900- 
or 1,800-watt 32 volts. Also the various 
types of lamps put out by the lamp com- 
panies are adaptable. 

June 30, 1934 

All shafting is of high-grade tool steel 
heat treated to increase its wearing quali- 
ties. The standard geneva intermittent 
movement is employed, constructed of tool 
steel and hardened. Bearings are either non- 
freezing bronze bearing metal or ball bear- 

Motion Picture Herald 


DeVry projector with Mazda lamp. 

ings. DeVry makes the flat claim that the 
use of what is known as "Robertson's 
Centripetal Wheel" and the silent chain 
drive totally eliminates all mechanical in- 
fluence on the sound. 

The sound mechanism is equipped with 
two exciter lamp sockets, which enable 
the projectionist to substitute a new exciter 

Front view of DeVry mechanism. 

lamp for a faulty one almost instantly. 
The DeVry installation will include ampli- 
fication of range suitable to the auditorium 
to be served, as well as loudspeakers and 
the wide range sound field. 

The projector may be had mounted 
either on a firm, solid base, or on four 
sturdy legs, as preferred. The entire equip- 
ment packs into a small case and weighs 
less than 200 pounds. 

The foregoing is written entirely from 
the manufacturer's own data, and when 
the equipment is available for examination, 
I shall discuss it further. 

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Better Theatres Section 

June 30, 1934 



says Balcony Bolivar 

.... but he says it to himself, not to 
you, and he stomps out of your theatre, 
perhaps never to return. His illusions 
about a favorite movie hero have been 
shattered by "mushy" sound effects. 
The C. T. R. Full-Range Sound System 
reproduces every tone in every range 
with natural clarity and richness. Makes 
regular patrons out of one-time patrons 
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losing theatre. Economical to maintain. 
Moderate in cost. A post card giving 
your name, seating capacity, dimensions 
of your theatre and name of your 
projectors, will bring you particulars, 
promptly. Address — 


The Cincinnati Time Recorder Go. 

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You can't make money if you don't keep hooks, but you don't 
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MKTHOD was invented by an exhibitor to protect his own 
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Money Ituck if not as represented. Send your check now. 




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Equipment News and Comment 


• A new projection arc lamp of Suprex 
type has been brought out by the Breck 
Photoplay Supply Company of Los An- 
geles. The lamp is designed to use D. C. 
Suprex carbons on amperages ranging from 
35 to 65. A feature is the use of a special 
governing device in adjusting the positive 
crater to the reflector. While the carbons 
are advanced at the proper ratio by a feed 
screw and continuous feed motor, varied 
by a potentiometer, the mechanism also 
incorporates an "electric eye" to maintain 
a suitable relationship between positive 
crater and reflector. 

The design also includes an "air screen" 
conceived to stabilize the arc and prevent 
excessive pitting of the reflector by molten 
particles from the arc, as well as to pre- 
vent reflector breakage resulting from 

Breck Suprex lamp mounted. 

Striking of the mirror by the arc tail flame. 
This provision is pointed out by the de- 
signer as having special application to 
houses with excessive projection angles. 
The blower for supplying the air to the 
air screen is driven by a separate motor 
and also supplies air through a duct pro- 
truding through the front of the lamp- 
housing to a special air distributor for 
cooling the projector mechanism. 

Carbons are maintained in a co-axial 
position by means of adjustment knobs lo- 
cated at the rear of the lamp. This is also 
true of the vertical and horizontal adjust- 
ments of the reflector. The arc is struck 
by squeezing a special knob at the rear of 

the lamp, pulling the air back to its proper 
burning gap by spring tension. 

The carbon jaws and carriers are ad- 
justable by means of a handle releasing the 
carbon carriers from the feed screw. The 
reflector is protected while the arc is being 
struck by a douser that is lowered into 
place by a handle at the front of the lamp. 
The entire burner unit is removed from 
the lamphouse by taking out four screws 
located at the back of the lamp. Finish 
is in black crackle enamel and black baked 


• A portable sound projector completely 
equipped for operation and design for 

suitcase carriage, has been brought out by 
the S. O. S. Corporation of New York. 
The projector mechanism is mounted with- 
in an aluminum case measuring 83^ x 21 
X 21 inches, and the mechanism itself is 
an aluminum casting. The light source is 
a 1,000-watt incandescent biplane-filament 
lamp. General Electric manufacture. Gen- 
eral projector and soundhead elements are 
of professional standards. Operation is on 
any 110-volt a. c. or d. c. circuit. 


• A new model projection arc lamp has 
been developed by the Imperial Electric 

& Manufacturing Company of Los An- 
geles, which recently brought out the 
Sterling Suprex lamp and Sterling con- 
verter. The new product is referred to as 
Model B. The 9-inch mirror formerly used 
has been replaced by one 12 inches in 
diameter. The mirror is Pyrex and de- 
signed to eliminate fogging and pitting 
due to smoke of the arc. The designer, 
C. S. Ashcraft, declares that the Model B 
lamp can be operated at an angle of 45° 
or more. 

To replace the positive carbon, the new 
carbon merely has to be placed in a groove 
and a releasing lever closed. A clinker 
receptacle is provided to receive bits of the 
copper coating dropping ofif during opera- 
tion. The design also incorporates a new- 
carbon adjustment method and new optical 


• A new line of carpetings has been de- 
veloped for the market under the name 

"Lokweave Broadloom" by Bigelow-San- 
ford. They are of the patent back type and 
can be procured in a choice of four plain 
qualities (one of hard twist fabric) and in 
27 colors. Figured styles are under de- 


• A low-voltage rectifier adapted to thea- 
tre sound systems has been brought out 

by the Gates Radio and Supply Company 

June 30, 1934 

Motion Picture Herald 


of Quincy, 111. It is referred to as Model 
A9S. It is of copper-oxide type and de- 
livers a total of 12 volts at 8 amperes in 
two sections of 4 amperes each. Power 
consumption totals 220 watts. 

The panel is 19 inches wide and 30 

Gates low-voltage rectifier. 

inches high, mounted on an iron frame. 
Rectifying elements are mounted on the 
front of the panel, and a rheostat for each 
section to permit adjustment for variations 
in line voltage, and a voltmeter for check- 
ing both sections, are provided. 


• A rectifier designed for use in motion 
picture projection has been brought out 
by the Baldor Electric Company of St. 
Louis. Principal features of the design 
are described as follows : 

The transformer is made of laminated 
electrical sheet steel, the laminations tight- 
ly compressed to reduce vibration. Wind- 
ings are of single cotton enamel magnet 
wire, insulated from the core and saturated 
with insulating varnish. The case is con- 
structed of heavy gauge sheet steel and is 
mounted on short legs. Louvers in the 
sides and top provide ventilation. The case 
is finished in green lacquer. 

The panel is made of sheet steel having 
a two-tone finish. Mounted on the panel 
are an "on and off" snap switch, an 0-50 
d. c. ammeter (if desired), and a seven- 
point control dial, which varies the am- 
perage at the arc between 15 and 30 


Photographs of the Curzon 
theatre in Mayfair, a suburb of 
London, described and pictured in 
the June 2d issue of Better The- 
atres, were published through the 
courtesy of Kinematograph Weekly, 
a leading British fihn trade journal. 

"'^Th'roJcH IND€P€NDeNT TH€ATRe./UPPLY D€AL€R/Aj£y'N. 

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A more brilliant surface would 
limit its usefulness to the more 
narrow houses where the Da-Lite 
Beaded Screen is now supreme. 

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1934 MODEL W 



COXSACKIE MFG. CORP., Coxsackie, N. Y. 


28 Better Theatres Section June 80, 1984 



The Question: 

I HAVE A remodeling 
proposition in view which I wish you would 
give me some help on. My theatre now 
seats 500 on only one floor, and I want to 
add a balcony to seat about 150, to be used 
by colored patrons. I want to have them 
enter from the rear, up stairs to a platform 
and through a catwalk on each side, hidden 
from the view of the white patrons on the 
main floor. 

To make room for the balcony I can add 
about 6 feet to the height of the auditorium 
at the rear, giving me about 21 feet in 
height. What material would you use for 
the ceiling, and can you suggest any deco- 
rative style? 

I also want to change the floor slope. 
There is only a drop of 3 feet now (the 
floor at the rear of the auditorium is level 
with the stage). 

When I change the auditorium I want 
to change the decoration of the walls also 
so as to get a good effect and also to have 
good acoustics. I now have panels with 
acoustic felt, and the same material is used 
at the rear. My sound is good now. I 
think I would like to have rough plaster 
walls with gold or some color in the plas- 
ter. Because the underside of the balcony 
will be seen by patrons entering the audi- 
torium, that should have some pleasing 
decoration, too. 

I now have a foyer 9 feet deep, and the 
seating space is 80 feet deep. The stage is 
26 feet wide and 15 feet deep. Width of 
the auditorium inside is 30 feet. Seats are 
in three banks, two at each side and one 
in the middle. I would like to keep the 
cost down to about $3,000. I am sending 
you a sketch and will appreciate any help 
you can give me. — R. E. B. 

The Answer: 

SINCE YOU intend to add 
a balcony to your present theatre, and as 
the auditorium is 30 feet wide, it will re- 
quire ten rows of seats to obtain a seating 
capacity of 150. I suggest you plan to 
have a mezzanine floor between the ceiling 
of the lobby and the underside of the bal- 
cony for entrance to the balcony seats con- 
necting same with outside stairs and cat- 
walks, so the colored patrons will be 
entirely hidden from view of the lower 
floor audience. A 6-foot addition to the 
present ceiling height will be sufficient to 
take care of the balcony. 

For the ceiling above and below the bal- 
cony I advise you to use a sound absorbing 
tile and make this decorative. Apply tiles 
in varied patterns divided by borders. 


IN THIS department 
Better Theatres will be 
glad to answer questions pertaining 
to the preliminary consideration in- 
volved in the planning of a new the- 
atre or in the remodeling of an exist- 
ing one. Only requests for ideas will 
be answered, since this department 
cannot assume the practical functions 
of an architect. All communications 
intended for this department should 
be addressed to Better Theatres. 
1790 Broadway, New York. 

A 3-foot slope in the floor for the depth 
of the auditorium is not enough. You 
should add at least 2 feet more, but this 
can be done only in the front part and by 
lowering the stage floor, as there will not 
be enough ceiling height in the rear of the 
auditorium to take care of the new 

Since you are going to change the wall 
decorations and remove the acoustical felt 
(which is an improvement in itself), you 
can save some money by using a plaster 
board or new wood material in place of 
plaster. Some splendid effects may be 
obtained by cutouts or by V-grooved lines 
in design in these boards. The manufac- 
turers of these materials will gladly supply 
you with catalogs showing different me- 
thods of application and several designs. 

You should attempt to obtain the ma- 
jority of decorative effects by the use of 
concealed lighting in colors, and I advise 
you against the use of gold coloring as it 
has been overdone. Use bright and vivid 

If you are careful in the selection of 
materials and apply economy wherever pos- 
sible, you may be able to have this 
remodeling executed for about $3,000, but 
do not figure on any less — it might cost 

The Question: 

ter is another sheet containing the dimen- 
sions of a building that I am considering 
converting into a theatre. The building 
has been used as a merchandise store. My 
desire is to have seats on the main floor 
only. I would like to have a stage for the 
accommodation of local talent. 

Inasmuch as this building is only 14 feet 

high, I am afraid that it will be difficult 
to construct a projection booth. However, 

I shall be guided by any suggestions you 
can make. 

Please outline a plan to assist me in the 
location of the box office, projection room, 
arrangement and number of seats that I 
can accommodate in this building, location 
of aisles, proper slope of the floor, and the 
correct spacing for the seats. 

Will you kindly make some suggestions 
as to the color scheme to follow in the 
interior decoration, and in the lobby and 
front as well ? I shall eagerly look for- 
ward to your reply, and shall greatly 
appreciate any suggestions that you may 
make. — L. H. B. 

The Answer: 


front of your theatre I suggest that the 
ticket booth be placed in the center with a 
double door on each side. Place the front 
of the ticket booth flush with face of build- 
ing and set the doors back flush with back 
of booth so that they will not extend beyond 
front of building when open. Place the 
projection room in center of lobby with 
doors on each side, forming a small foyer 
at the beginning of each aisle, front wall of 
projection room to be flush with 2-foot 
offset in the left wall, 25 feet from front 
wall. If the projection room is 10 feet 
deep, the lobby will then have a depth of 

I I feet, 6 inches. Raise projection room 
floor as high as possible so that the lower 
projection beam will have at least a 6-foot 
clearance above floor at the back of the first 
row of seats. Inasmuch as the ceiling 
height is only 14 feet, it will be impossible 
to place this room above lobby where it 
really belongs. 

There are now 100 feet left for audi- 
torium and stage. A 12-foot stage will be 
large enough for your requirements, and 
if you allow 14 feet for space between 
apron and front row of seats, there will be 
enough room left to accommodate 29 rows 
of seats. Arrange the seats across the 
width of the auditorium in a center bank 
of 11 seats, with an aisle on each side, 
making a total seating capacity of 319 

For the slope of the floor I suggest that 
the first six rows of seats near the stage be 
placed on a level. From that point on to 
the projection room a slope of from 4 feet, 
6 inches to 5 feet will be sufficient. Since 
there is no floor in the rear part of the 
building you may be able to excavate quite 
a little to bring the lower part of the floor 
down as far as possible. 

For the proper spacing of seats use the 

June 30, 1934 

Motion Picture Herald 



WT* • 

In The 

minimum width of 20 inches from center 
to center, and the minimum of 30 inches 
from back to back. 

It is impossible for me to suggest a color 
scheme not knowing what design or treat- 
ment you intend to employ. You should 
therefore consult a decorator. 

The Question 

I AM PLANNING on build- 
ing a new theatre on a lot 43x160 feet, 
stadium type, theatre seating about 625, 
with a small shop in front. Would you 
advise me if this can be heated with a hot 
air furnace and blower system one used for 
cooling the theatre. Also please advise me 
if it is necessary to build the full 160-foot 
depth.— A.J.S. 

The Answer 

IT wiLi« NOT be necessary 
lo utilize the full length of the lot to 
build a stadium type theatre with a seating 
capacity of 625. If you are satisfied with 
a stage 15 feet deep, the total length of 
the building will be 130 feet. Such a 
theatre can be heated very satisfactorily 
with hot air furnace, but I advise you to 
install a small hot water boiler next to the 
furnace to take care of heating shop, lobby, 
foyer, women's and men's rooms, office 
and projection room. This will reduce the 
cost of installation considerably, because it 
will eliminate a great amount of galva- 
nized iron work for hot air ducts and 
returns, especially if the furnace room is 
located under the stage, as there will be 
required only two short ducts to connect 
air outlets at each side of stage. 

I also recommend that you install a fur- 
nace with air conditioning unit connected. 
This will give clean, fresh heated air in 
winter, and in summer it will cool the 
theatre. It also will keep the interior clean, 
the blown-in air being 90% pure. 

As far as designs for such a theatre 
are concerned, my best advice to you is 
to consult a theatre architect. 


The Question 

I HAVE A lot 24 feet, 6 
inches wide by 150 feet deep and want to 
construct a new theatre of 500 seats. I 
realize this lot is too narrow, but I have 
tried for two years to find a wider lot in 
a suitable location and am unable to do so. 

I want a balcony so that I can take care 
of the price range, but 120 to 150 seats 
are all that I need in it. What is the 
lowest ceiling height I can use, and please 
offer some tangible ideas as to lobby 
arrangement, balcony, stage, etc.— W.L.B. 

The Answer 


your lot is rather narrow, its size is large 
enough for a balcony type theatre with a 
seating capacity of 500. If you figure the 
seating capacity of the balcony at 150 
there will be ample space on the lower floor 
to accommodate 350 seats. It will be 
possible to place ten seats in a row with a 
wall aisle at each side, across the width of 
the auditorium. If you allow 15 feet for 





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Better Theatres Section 

June 30, 1934 

the depth of the stage, 15 feet for space 
between first row of seats and stage apron, 
8 feet for foyer, 15 feet for lobby, 3 feet 
for outside vestibule, and 3 feet for wall 
thickness, making a total of 59 feet, there 
will be enough space left for 36 rows of 
seats, or "a minimum seating capacity of 

It will take 15 rows of seats for bal- 

cony. The minimum ceiling height will 
be as follows : 9 feet from high point of 
auditorium floor to soffit of balcony, 10 
feet from lower part of balcony to top of 
last row, and 9 feet from this point to 
ceiling, making a total ceiling height of 
28 feet at the high point of the auditorium 

There will be enough space between 

ceiling of lobby and floor of projection 
room to provide for a mezzanine floor, on 
which could be placed the women's and 
men's rest rooms and manager's office, also 
storage room. I suggest that the full 
width of the building be used for lobby 
and stairways to mezzanine, and that you 
place the ticket office in the center of the 
front with the entrance doors on each side. 

Constructing Theatre Advertising 

matter, may be included under this head- 
ing. For these elements, space restrictions 
are pretty rigid — that is, they are set in 
paragraphs of a certain predetermined 
width, each line of which has to be of 
exactly that width (with rare and rather 
freakish exceptions). Thus only a limited 
number of characters is permissible to any 
one text unit, and the advertiser can con- 
vey his message in only a restricted number 
of words. All this seems rather obvious, 
but it is really common for copy to come 
to a printer in such quantity that it could 
not possibly be set in a readable size with- 
in the space available ; hence printers' sar- 
castic references to "rubber type," which 
would be necessary if the copy were to be 
squeezed into the available space. The 
trouble is, type is made of metal. 


Thus adjustments are necessary between 
the copy and the type. Initially, one ha. 
a message that, in display and text, will 
require at least so much space with certain 
allocations in the layout. This forms the 
key by which the type space is determined 
at the outset. After this, the space itself 
imposes the restrictions indicated above on 
the number of characters in a display line, 
the number of words in a unit of text. 
Then in dealing with these problems, it 
should also be remembered that : 

1. The smaller the size of the type, the 
shorter the line should be to attain read- 
ability. Ten-point type, in most faces 
large enough for text to be read easily, 
should not be set in a measure greater 
than 24 ems, and 18 ems is a preferable 
limit. In the display sizes, from 18-point 
up, the maximum width of proper line can 
be accordingly greater. 

2. The greater the depth of a paragraph 
or block of type, the wider should be the 
measure if readability and good appearance 
are to be attained. Imagine, for example, 
100 words set in 24-point on a 12-em 
measure ! 

3. Extremely narrow measures look best 
and probably are also most easily read if 
set in faces of narrow characters. That 
is to say, condensed faces, or their approx- 
imate equivalent, are better for measures 
under 10 ems than faces with distinctly 
broad characters. 

4. Letter-spacing (placing extra space 
between each character) must be accounted 
for in computing the number of characters 
or words possible. Letter-spacing is not 
intended for large units, and as a rule, it 
should be restricted to words or lines set 

{Continud from page 8) 

entirely in capitals (preferable roman, 
rather than italic) . 

5. Leading (placing extra space between 
lines) should be accounted for in comput- 
ing the amount of copy permissible, since 
the number of lines possible is accordingly 
reduced. In general, lightface type does 
not really need leading, boldface type in 
all but the narrowest measures, is usually 
the better for it. Some faces, those with 
long descenders and ascenders, actually 
look slightly leaded even when they are 
not. But others, including lightface, ap- 
pear squeezed in the vertical direction 
when set on a measure that is very wide. 
Type can be ordered composed with lead- 
ing. To order 12-point type to be set on 
14-point slugs means single leading (2 
points to each lead). Otherwise leads can 
be inserted between the lines when the 
advertisement is being made up. 

In ordering composition of main head- 
ings and subheads the printer may be in- 
structed to set each line according to a 
specific measure and indentation, or he 
may be referred to the layout, where the 
copy involved is "roughed in" as wanted. 
The latter method is probably best for the 
main headings. 

Text may be indicated in the layout 
merely by the outlining of the space to 
be occupied, such space being marked by a 
letter of the alphabet or numeral, and the 
copy being correspondingly designated. 
Copy instructions should be as explicit as 
possible, and even though the block of type 
is pretty clearly indicated, any paragraph 
provisions, in addition to the type instruc- 
tions, should be specified in the copy. The 
usual paragraph forms are as follows : 

This is a regularly indented paragraph, 
the first line being indented 1 pica (em), 
the rest following full measure. If this 
paragraph were of considerably wider 
measure, a proportionately greater inden- 
tion of the first line would be in order. 

This paragraph is set in a style known as 
a hanging indention, or hanger. The 
form has special uses, particularly for 
copy to be set off from paragraphs above 
and below. 

This style of paragraph is called 
an inverted pyramid, or bank. 
It is useful for subheads 
and similar matter. 

Sometimes paragraphs are set flush — no 
indention of any kind. The printer should 
be ordered to set the copy flush, otherwise 
he will assume that the regular paragraph 
style is wanted ; i. e., 1-pica indention of 
the first line. When there is more than 

one paragraph set flush, the paragraphs 
are separated by space. Occasionally con- 
ditions suggest that there be no separation, 
and that instead a paragraph sign (II) be 
inserted where the new paragraph would 
normally begin. 

When a paragraph is to begin with an 
initial (first letter of first word a large 
capital letter of the same face as the text 
is set in, or of a harmonizing face), this 
should be indicated in copy instructions. 
The size of the letter may be indicated by 
its pointage or by the number of lines that 
will have to be indented in order to pro- 
vide space for it (two-line initial, three- 
line, etc.). Sometimes, however, one wants 
an initial to rest on the body of the first 
line and extend above the paragraph. In 
such a case, its size should be indicated in 
points. In some faces, an initial looks bet- 
ter when set on one line and extend- 
ing above the paragraph (for example, 
Bodoni). The sunk-in initial, however, is 
the commonest. 


THERE ARE systems galore 
for telling the copy writer how many 
words he can write to go into a certain 
space at a certain pointage in a certain 
face, and similarly the conditions necessary 
for a specific amount of copy that is al- 
ready prepared can be determined by these 
little "ready-reckoners." Type manufac- 
turers can supply them, anybody can make 
them if he wants to bother. But more 
necessary is a specimen line of the font to 
be used, and surely no one working with 
type will be without a catalog of the faces 
he commonly employs. With a specimen 
at hand, all that is needed is a minute or 
two of time and the ability to count. 

In computing the amount of copy or 
space required, or the pointage that will 
take the copy in the space set aside for it 
— in short, measuring type — a distinction 
is usually made between display matter 
(the larger sizes of type set in one or only 
a few lines) and text. For the former, a 
count of characters is necessary, for they 
are relatively large. Text matter can be 
computed by words. 

Display example: Copy for line is sup- 
plied as follows: Another Screen Master- 
piece. The measure to be filled is 21 ems, 
the type to be used Caslon Old Face. Now 
each character is counted as one, except 
M's and W's, which count one-and-a-half; 
and I's, both capital and lower case, and 

Jime 20, 1924 

Motion Picture Herald 


iower case L's, which count as half-char- 
acters. Our line is to be set in capitals. 
It therefore has 26 characters. Look at 
your specimen sheet on Caslon Old Face. 
A glance will tell you that one or the other 
of two certain sizes will take the copy in 
the measure established. Lay a pica rule 
on one of these specimen capital lines and 
count 26 characters. If the count runs 
more or less than 21 ems, try the other. 
This is not as much of a hit-or-miss method 
as it sounds. The second probable size 
will be the proper one even if the first 
isn't in nine out of ten instances. Similar- 
ly you can determine how many characters 
will be needed in the copy if the type size 
and face, and the measure has been estab- 
lished, or what the measure must be if 
the type and copy have been determined. 

Text examples: The copy is supplied, 
■containing 100 words, as you find by count- 
ing the number of words in several lines 
to get an average, then by counting the 
total number of lines and multiplying. 
The width of the available type space is 
15 ems, and you would like to have the 
text extend approximately 20 picas deep. 
Look at your type specimens in the face 
you would prefer to use. A glance will 
indicate about the size that will be read- 
able, look well and take the copy. 

The latter, however, must be determined 

definitely. Count the characters in a line, 
including the spaces between words. There- 
fore lay your pica rule on a likely-looking 
line and count the characters contained in 
15 ems. Your count is 32. Now the av- 
erage number of letters in English words 
is six. Six goes into 32 a little over five 
times, so the average number of words to 
the line is approximately five. The copy 
contains 100 words. Five goes into 100 
twenty times. Now the size we have been 
counting is 10-point. Twenty times ten 
is 200 points. You know, of course, that 
there are 12 points in a pica. Divide 200 
by 12, which gives you approximately 17 
picas, which is the depth of the block of 
text matter if you use the 10-point size 
without leading. Quite probably in this 
case you would choose the 10-point size, 
setting on 12 point slugs if machine com- 
position, or otherwise single-leading, which 
would make your copy extend to the depth 
wanted. Or you might decide on 12- 
point, set solid. 

The word-count method, of course, is 
not really accurate, for there are too many 
variables in both lengths of words and 
widths of type characters. But in all ex- 
cept extremely small amounts of copy, the 
counting of words, rather than characters, 
will probably suffice for the theatre ad- 

Law Affecting Advertising Methods 

{Continued from page 16) 

vertising matter of any kind whatsoever, 
or to distribute handbills or other adver- 
tising matter at houses, stores or places 
of business." In holding the ordinance 
void, the court said: 


"There is no express grant of power to 
a city which enables it to pass an ordinance 
prohibiting a person from handing out a 
circular, card, picture, or advertising mat- 
ter of any description whatsoever, in or 
upon its public streets or sidewalks. . . . 
The handing out on a public street, side- 
walk, or public place of a 'circular, dodger, 
handbills, pamphlet, card, picture, or any 
advertising matter of any kind whatsoever,' 
is not, of itself, any offense. ... It is true 
that if this ordinance is to be justified 
under the general powers granted to a 
municipality wherein the city is given 
power to regulate the use of its streets, 
the test of reasonableness must be applied. 
. . . The ordinance is not a reasonable 
exercise of its police powers. Its strict 
enforcement would unreasonably hamper 
persons in the conduct of their affairs." 


Also, in the leading case of People v. 
Armstrong (41 N. W. 275, Detroit, 
Mich.), a person had been convicted of 
passing out cards to people on the side- 
walk. In holding the ordinance unreason- 
able and void, the Supreme Court said: 


"What direction or restraint is required 
for the public good in the mere act of 

giving away an advertising card or hand- 
bill ? This part of the ordinance is not 
aimed at the littering up of the streets, 
or to the frightening of horses, but the 
offense is made complete in itself by the 
mere act of distributing or giving away of 
these enumerated articles." 

Nevertheless, a theatre operator is liable 
for "littering the streets" if the persons 
to whom his circulars are handed or passed 
drop them in quantities in the streets. 



theatre owners and operators involving ad- 
vertising signs, the most frequent of which 
involve lease and sale contracts. 


For instance, I have before me a letter 
from an unfortunate theatre operator who 
recently was held liable by a higher court 
for a large amount due on an electric sign 
rental contract which he states he never 
signed. The facts of this litigation is that 
a few days after the operator had pur- 
chased the theatre, the seller informed him 
that he owed $260 on the electric sign 
which was attached to the theatre building. 
Without requiring further proof of the 
ownership of the sign, he gave his check 
to the seller for $260 believing that he 
was purchasing the sign. 

Some time later, much to his surprise, 
he was informed by the manufacturer of 
the sign that the seller of the theatre had 
signed a four-year contract to pay a month- 
{Continued on page 34) 





for cracked con- 
crete floors 

Parts for all chairs 

Slip Covers 

Allied Seating Coaspany 

358 W. 44th ST. NEW YORK, N. Y. 

Constant, Pure White Light 


Eliminates change-over troubles. 
Saves 20-30%, changing A.C. to 
D.C. Delivers 15-30 amps, quiet- 
ly, dependably, without sound in- 
terference. Becommended by lead- 
ing lamp manufacturers. $125 


For brilliant mazda projection. 
Small, sturdy, simple, dependable, 
quiet. Ideal for highly concen- 
trated spot or flood lighting. 110 
or 220 volts. $60 complete. 
Representatives in all 
Principal Cities 

Garver Electric Company 





are giving universal 


Projection Optics Co., Inc. 

330 Lyell Ave.. Rochester. N. Y.. U. S. A. 

Motion Picture Patents My Specialty 


William N. Moore 

Patent Attorney 

Loan and Trust Building 
Washington, D. C. 

The first important step is to learn 
whether you can obtain a patent. Please 
send sketch of your invention with $10, 
and I will examine the pertinent U. S. 
patents and inform you whether you are 
entitled to a patent, the cost and manner 
of procedure. Personal attention. Estab- 
lished 35 years. 

Copyright your play 
Trade -Mark your goods or titles 


Better Theatres Section 

June 30, 1934 



Adler Signs, Inc., Ben 29 

Allied Seating Company 31 

Amperex Electronic Products, Inc 27 


Bausch and Lomb Optical Co 22 

Bigelow-Sanford Carpet Co 3 


Cincinnati Time Recorder Co., The 26 

Continental Electric Company 27 

Coxsackie Mfg. Corp 27 


Da-Lite Screen Company 27 

DeVry Company, Herman A 21 


Eastern Seating Company 29 

Easy Method Ledger System 26 

Enterprise Optical Mfg. Co Fourth Cover 


Garver Electric Company 31 

Gates Radio and Supply Co 25 

General Scientific Corporation 24 

Gordos Products Company 27 


Hall & Connolly, Inc 29 

Hewes Gotham Company 27 

Hygrade Sylvania Corp 19 


Imperial Electric & Mfg. Co Second Cover 

International Projector Corporation. .Third Cover 
Internatioanl Seat Corporation 23 


Kleigl Brothers, Inc 22 


Moore, William N 31 


National Carbon Company, Inc 29 


Projection Optics Company, Inc 31 


SOS Corporation 25 

Strong Electric Corporation 25 

Supreme Heater & Ventilating Corp 27 


Weber Machine Corporation 24 

Wright-DeCoster, Inc 23 

Among Contributors to This Issue: 

^ The current article in the series on CON- 
the discussion of type. The article to follow 
in the series will consider the use of ornament 
and some miscellaneous details in connection 
with composition and layout. These attempts 
to give theatre manager and his assistants some 
technical understanding of type and layout have 
been prepared by the editor of Better The- 
atres directly in response to a number of in- 
quiries for such information. 

^ The architects of the Midway theatre in 
Dearborn, Mich., described under the title, 
A 900-SEAT theatre COSTING $55,000, are 
L. R. BENNETT and E. D. STRAIGHT, who main- 
tain offices in the Schaefer Building in Dearborn. 
This theatre came to our attention because of its 
use of cinder blocks, and the design shows other 
interesting features also. 

TO GUIDE you) is a regular contributor to 
Better Theatres on theatre management and 
maintenance. He is a maintenance engineer 
associated with Paramount Publix. mainte- 
nance TABS is a regular department of advice 
and counsel to which Mr. Knight invites specific 
practical problems from theatre managers and 

ING methods) is an attorney-at-law who has 
been contributing to Better Theatres for 
many years on legal phases of theatre operation. 
He maintains offices in Cincinnati. 

^ C. C. POTWIN and S. K. M^OLF (tHE SELEC- 
TION OF ACOUSTIC materials) are consulting 
acoustic engineers associated with Electrical Re- 
search Products, Inc., in New York. 

June 20, 1924 

Motion Picture Herald 



"Better Theatres" offers on this page an individual service to its readers. Detailed information and catalogs concerning any 
product listed herewith will be sent to any theatre owner, manager, architect or projectionist. Just fill in the coupon below and 
mail to "Better Theatres" Division of Motion Picture Herald. Readers will find that many of the products listed by this 
Bureau are advertised in this issue. 

Accounting sys+ems 
Acoustical installations 
Adapters, mazda 
Advertising novelties 
Advertising projectors 
Air conditioning equipment 
Aisle rope 
Arc regulators 
Automatic curtain control 



Blocks, pulleys, stage-rigging 
Bolts, chair anchor 
Booths, projection (porfable) 
Bulletin boards, changeable 


Canopies for fronts 
Carpet cushion 
Cement, film 

Cement for fastening chairs 

Chairs, theatre 

Change makers 

Changeable letters 


Color hoods 


Cutout machines 


Disinfectants — perfumed 
Doors, fireproof 
Drinking fountains 


Effect machines 

Electric measuring instruments 

Electric fans 

Electric motors 

Electric generating plants 

Electric signs 

Electric signal and control systems 
Emergency lighting plants 

Film cleaning machines 
Film processing machines 
Film rewinders 
Film shipping cases 
Film splicing machines 
Fireproof curtains 
Fireproof doors 
Flashers, electric sign 
Flood lighting 

Fountains, decorative 
Frames, poster, lobby display 


Hand driers 
Hardware, stage 
Heating systems 

Horn lifts and towers 

Ladders, safety 
Lamps, decorative 
Lamp dip coloring 
Lamps, general lighting 
Lamps, incandescent projection 
Lamps, high intensity 
Lamps, reflecting arc 

Lighting systems, complete 


Mats and runners 
Motion picture cable 
Motor generators 
Music stands 

Orchestra pit fittings, furnishings 

Organ novelty slides 
Organ lifts 



Photo-electric cells 

Plastic fixtures and decorations 

Pop-corn machines 

Portable projectors 

Portable sound equipment 

Projection lamps 


Projection room equipment 
Public address systems 


Rails, brass 
Regulators, mazda 

Reel end signals 
Reel cases 

Resonant orchestra platforms 

Safes, box office 
Safes, film 


Screen masks and modifiers 

Screen resurfacing service 

Seat covers 

Seat indicators 

Seats, theatre 

Signs, directional 

Signs, marquee 


Shutters, metal fire 

Sound equipment, complete 

Sound heads 

Speakers, dynamic 

Speed indicators 


Stage lighting equipment 

Stage scenery 

Stage rigging 




Switches, automatic 

Ta pestries 

Telephones, inter-communicatinq 

Ticket booths 
Ticket choppers 
Ticket selling machines 



Upholstery materials 

Vacuum cleaning equipment 
Ventilating systems 
Vending machines 


Wall coverings 

"BEHER THEATRES" DIVISION. Motion Picture Herald. 
1790 Broadway. New York 

Gentlemen: I should like to receive reliable information on the following items: 

(Refer to items by nanne, as listed above) 

1 7 

2 8 

3 9 

4 10 

5 II 

6 12 


Name Theatre City 

State Seating Capacity 


Better Theatres Section 

June 30, 1934 

Law Affecting Advertising Methods 

ly rental of $15 for the sign, and that 
-when he had purchased the theatre he 
had signed a contract to continue the 
monthly payment for the balance of the 
term of the contract, which still had three 
and one-half years duration. 

After a month had expired, without the 
theatre owner paying the monthly rental, 
the sign company filed suit against him to 
Tecover immediately the full amount equal 
to $15 a month for three and one-half 

During the trial the theatre owner testi- 
fied that he did not remember signing the 
-contract and he was not informed by either 
the seller of the" theatre or the sign com- 
pany that the electric sign was rented. 
In fact, he introduced evidence to show 
that he gave the original owner of the 
theatre a check for $260 believing that 
lie was purchasing the sign. 


However, notwithstanding these facts, he 
-was held liable for immediate payment to 
the sign company for the full amount of 
the rental charge, amounting to approxi- 
mately $630. 

Still another example of negligence on 
the part of a theatre owner to fulfill the 
terms of a signed contract is found in the 
leading case of Electric Sign Company v. 
Campbell (168 111. App. 64, Chicago, 


Here it was shown that a proprietor 
entered into a contract with a sign com- 
pany by which he agreed to make a cash 
payment and the balance in six monthly 
installments. The contract further pro- 
vided that if the buyer failed to make any 
payment when due, that all of the remain- 
ing installments should at once become due 
:and payable. 

The ordinance of the city provides that 
the owner of an electric sign shall pay the 

{Continued from page 31) 

city an annual inspection fee, and that 
after a permit to erect the sign has been 
issued the buyer shall notify the city elec- 
trician who shall inspect the same. If 
the sign is erected in accordance with the 
ordinance the purchaser is authorized in 
writing by the city to operate and main- 
tain the sign for one year. 

However, when the proprietor and the 
salesman for the sign company entered into 
the contract the salesman failed to impart 
information relative to the city law requir- 
ing yearly inspections of the sign and ver- 
bally promised that the total cost to the 
buyer would be $70 including erection of 
the sign and making the electrical con- 

The sign company erected the sign and 
connected it with electric current, but did 
not connect it through the meter. Soon 
thereafter the light company disconnected 
the current from the sign because the in- 
spection fees had not been paid and then 
discovered that the sign was not connected 
with the meter. 

The purchaser refused to pay the sign 
company the balance due after the first 
payment contending that the latter had 
breached its contract in failing to pay the 
city inspection fees and make the proper 
connection with the current, in accordance 
with the salesman's verbal agreement. 


However, the court held the purchaser 
liable for immediate payment of the bal- 
ance due the sign company, since the writ- 
ten contract simply stated that the sign 
company agreed to erect the sign, without 
specifying anything regarding making the 
electric connections. 

Therefore, it is important that theatre 
operators investigate state and city laws, 
regarding installations of electric signs, 
before making contracts of purchase. This 
is necessary because usually the courts will 
not consider testimony relative to verbal 

agreements, if such verbal statements con- 
tradict the terms of the written contract. 




that although a theatre owner may have 
obtained a permit from municipal officials 
to make building improvements or install 
an electric sign, this fact is immaterial in 
litigation where the theatre owner has 
filed suit to recover damages from an indi- 
vidual who injured the sign. The con- 
trolling testimony in a litigation of this 
nature is : Did the person negligently effect 
the damage ? 

For example, in Theatres Company v. 
American Railway Express Company ( 166 
N. E. 557, Boston, Mass.), it was dis- 
closed that a theatre owner filed suit 
against a motor-truck owner to recover 
damages resulting from the unusually high 
truck body knocking down an expensive 
electric sign attached to theatre building. 

Testimony was introduced which proved 
that the marquee hung from the build- 
ing suspended at its outer end by chains 
fastened to the wall, and it extended over 
the sidewalk to within three inches of the 
perpendicular plane of the outer edge of 
the curb. The sign damaged by the truck 
was upon the marquee and extended eight 
inches further, and thus projected five inch- 
es beyond the line of the curb. 

The theatre owner argued that since 
he had obtained a license to attach the sign 
in this manner, the owner of the truck 
which knocked it down was liable. How- 
ever, the court held the theatre owner not 
entitled to recover damages, saying: 

"There is nothing in this evidence, which, 
as matter of law, required a finding of 
negligence of the driver. If he had known 
that the marquee with its signs projected 
into the traveled way, it might well be 
thought that he was not negligent in fail- 
ing to observe his exact position." 

A Foct-Finding System to Guide You 

immense value to the manager to know, 
and by this method see, this habit pattern. 

Further examination will be convincing 
that outstanding stars in pictures af?ect 
these curves ; one may attract the type 
of persons who go to theatres early, while 
others attract the sophisticates who are 
'"late comers." Learning and observing 
all of these things gradually develops the 
manager to sense the effect of coming 
events, both in and outside of the theatre, 
and to make plans accordingly. Only too 
often managers think that they can re- 
member all of the details that develop 
throughout day in and day out operation 
of a theatre, only to wake up suddenly 
when it's too late and realize that they 
Tiave missed a chance to bring more money 

{Continued from page 14) 

into the box office. Some men have remark- 
able memories, some have remarkably ana- 
lytical minds, but such men are few and 
far between. Most of us need some such 
instrument as these daily business graphs 
to keep us constantly working at the weak 
spots in our operations. 

Changes come about slowly, so slowly 
that some sort of visual representation is 
necessary to keep the trend of such changes 
constantly before us. Any function that 
constantly varies can be recorded in a chart 
or graph, and from such chart or graph 
there is a basis for advancing an opinion 
and making plans in advance for coming 

Other lines of commercial enterprise 
make beneficial use of this form of record- 

ing happenings, events or facts. Our in- 
dustry is a legitimate business, it is time 
to remove some of the guesswork. There 
have been too many wrong guesses during 
the past few years. We are in an era 
of change that is going to supplant old 
haphazard methods by more systematic, 
reliable and orderly methods. 

Don't get the idea that this is an en- 
deavor to intellectualize theatre operation 
theoretically — there must always be that 
theatrical instinct which is called "show- 
manship." But method in analyzing the- 
atre operations is practical. It has been 
so proved in actual usage. The method 
here described requires about 20 minutes 
each day, and it will prove itself of prac- 
tical value to you. 

















Send for illustrated descriptive folder. 


4431-41 West Lake Street, Chicago, 111. 






OL I \ ti NO 2 Bittcrcii as second-class matter, January 12, 1931, at the Post Office, at Mezu Vork.W^*-'^ act of March i, 1879. Pub- II II Y 7 I Q')^ 

I Wi l^iv-'. i. Ushed Weekly by Quiyley Publishing Co., Inc., at 1790 Broadway, New York. Subscription, 96. a year. Single copies, 25 cents. JUL! / , I 7 



1 - BUSINESS is excellent everywhere. 

2- IVIAR10N DAVIES' work is praised in all press notices* 
Consensus of opinion indicates that this star's box-office 
draw is considerably enhanced by ''Operator 13'^ follow- 
ing directly after her popular appearance in "Going 

3- ADVERTISING angles incorporated in press sheet and 
Hearst newspaper campaign are being used to good 
advantage by showmen. 

4- CO-STARRING of Marion Davies and Gary Cooper is 
proving a happy selection for fans and all promotion 
stresses star names, 

5- WEALTH OF SELLING material pleases theatre 
managers. JEAN PARKER is getting especial attention, 
also Ted Healy and Four Mills Brothers. 

6- SONG EXPLOITATION very helpful "Sleepy Head'' 
and "Jungle Fever'' getting wide radio plug. 

Respectfully submitted hy Leo of M-Q-M 


and so are 







Featured Stars . . . . Directed by William Dieterle 

Vifogroph, /nc , Distributors 


with the first *2 hit 
of 1934-35 


See page 50 

UL ^7 ,g^^ ©CIB 230520 




Vol. 1 16. No. 2 

July 7, 1934 


WHILE the motion picture industry is concerning 
itself with adherence to the Production Code it need 
not in too contrite a spirit relax a proper vigilance 
against the continued and more recently inflamed activities of 
the political censorship bodies of the various cities and states. 

It was more than certain, with the abundant discussions in 
the daily press of the Legion of Decency movement and related 
affairs, that the censorship boards of the land should become 
blushingly self-conscious. 

The intimation that these censorships, many of the most 
diligent of them In the very centers where the Legion of 
Decency has reached greatest activity, are not entirely effec- 
tive appears to have been deduced by the censors. They now 
tend to lay about them in a fevered haste to make a show of 
action if not efficiency. The motion picture therefore is just 
now considerably more in peril from the garbling amateur film 
editors of the censors' boards than normally. 

The currently advertised failure of censorship to achieve Its 
avowed and promised ends Is in truth a weapon delivered into 
the hands of the industry. 


A CODE Agreement has been reached pertaining to the 
number of matches which can be given away with a 
pack of cigarettes. The country is now practically 



FOR some years we have treasured as the most priceless 
whimsy of the world of the motion picture a discovery on 
that golden afternoon in the old Paramount studio at Long 
Island City when we found an imported director who could do 
nothing unless his pet pig, pink and beribboned, was near by. 
Whether the pig was totem or mascot could not be discov- 
ered. But the pig was there, attended by his own valet, when 
pictures were to be made. 

Now, however, comes a tale from the interior of newspaper- 
dom that seems almost as good, If not indeed better. It is 
solemnly related by sources ordinarily deemed reliable, that a 
certain midwestern publisher and editor, who has these several 
years been Increasing in belligerency and eccentricity, has 
created a strange shrine to the sport of polo in the secret 
heights of his great tower. There have been installed, so the 
report runs, a synthetic horse, a simulated turf and a driving 
field with a net to catch the balls which the publisher wallops 
about between conferences on the state of the nation. 

We are Informed, most plausibly, that the reporter wag 
who added a shovelful of aromatic realism, accurately placed 
and neatly mounded, is no longer with the paper. 


Maybe a want ad would do it — something like this: 

WANTED A PRESIDENT— Big publicity and up- 
lift movement has magnificent opening at the top 
for person of prominence, sole requirement is name 
of distinction. Salary will never be an object, but 
handsome compensation in free publicity is avail- 
able. No knoiuledge of any subject is required. 
Speeches, announcements and opinions all to be 
supplied, in mimeograph form. Ability to take 
orders and make page one of daily press important. 
Job carries own kudos, prior incumbents two of 
our best university presidents and a society-mil- 
lionairess. Worthy cause of movement keeping 
diligent staff employed. Fund raising ability 
wotdd be welcomed. Reply on crested stationery 
and handwritten letter addressed to W.H.S. care 

This week what survives of the Motion Picture Research 
Council is addressed at the blithe expedient of seeking to 
enlist in its alleged scholarly endeavors In behalf of the public 
and the screen the school teachers of the nation, through an 
approach to the National Education Association In Washington. 

This sounds like a big movement. 

It would be a big movement if the educators of the nation 
were really responsive to any such pressures. But there Is 
neither any such solidarity of the teachers as an organized pro- 
fession, nor any such tremendous community and unity of In- 
terest among them as will make them for the purposes of the 
crusading Dr. William H. Short an adeguate substitute for the 
public voting power of the Legion of Decency which has set 
In guest of this expedient. 

There is no proper issue between the schools and the screen. 

There Is, however, something of an opportunity for those who 
think out-of -focus, or argue that way without conscience, to 
confuse again the differences between the functions of the 
show business and the school system on the flimsy argument 
that "pictures can be educational so they all ought to be." 

The teachers have problems of their own. They are not 
motion picture problems. 


F the researchers and upllfters really want to do something 
about keeping this country from going to hell in a hack, 
let us direct their attention to the current eruption of the 
female fashion of barefeet in sandals with toe nails tihted to 
match finger nails. Tomato and fire engine red are the 
fashionable colors along Madison avenue and the shore places 
this week. And we used to deplore hlollywoodi 


Incorporatinq Exhibitor's Herald, founded 1915; Motion Picture News, founded 1913; Moving Picture World, founded 1907; Motography, founded 1909; The Film Index, 
founded 1906. Published every Thursday by Quigley Publishing Company, 1790 Broadway, New York City. Telephone Circle 7-3100. Cable address "Quigpubco, New York." 
Martin Quigley Editor-in-Chief and Publisher; Colvin Brown, Vice-President and General Manager; Terry Ramsaye, Editor; Ernest A. Rovelstad, Managing Editor; Chicago 
Bureau 407 South Dearborn Street, Edwin S. Clifford, manager; Hollywood Bureau, Postal Union Life Building, Victor M. Shapiro, manager; London Bureau, Remo House, 310 
Reaent' Street London W 1, Bruce' Allan, cable Quigpubco London; Berlin Bureau, Berl in-Tempelhof, Kaiserin-Augustastrasse 28, Joachim K. Rutenberg, representative; Paris 
Bureau 19 Rue de la Cour-des-Noues, Paris 20e, France, Pierre Autre, representative, cable Autre-Lacifral-20 Paris; Rome Bureau, Viale Gorizia, Rome, Italy, Vittorio, Malpassuti, 
representative Italcable, Malpassuti, Rome; Sydney Bureau, 600 George Street, Sydney, Australia, Cliff Holt, representative; Mexico City Bureau, Apartado 269, Mexico City, 
Mexico James Lockhart,' representative. Member Audit Bureau of Circulations. All contents copyright 1934 by Quigley Publishing Company. Address all correspondence to 
the New York Office. Better Theatres, devoted to the construction, equipment and operation of theatres, is published every fourth week as section 2 of Motion Picture Herald. 
Other Quigley Publications: Motion Picture Daily, The Motion Picture Almanac, published annually, and The Chicagoan. 



July 7 , 193^ 



Finding itself before the New York 
Grievance Board as an independent ex- 
hibitor asked to have a seven-day clear- 
ance lifted, Loew's Inc., has nationally de- 
cided to discontinue the good Samaritan 
role, and hereafter vi'ill cease its voluntary 
waivers of protection, heretofore gener- 
ously granted to independent exhibitors to 
help thenn over difficult spots, though it 
amounted to dropping its own legitimate 
protection in favor of smaller compe- 
tition. . . . 


To take care of Kentucky's three per 
cent sales tax, one cent has been added 
to each adult admission in the state, with 
no levy on children's admissions. Since 
collection of an exact three per cent 
revenue would be difficult, the one cent 
idea was hit upon, approved by the state 
tax commission. . . . 


Vancouver, in Canada, is awaiting 
materialization of the plan announced by 
Gaston Glass, who says he represents 
Joseph I. Schnitzer, to produce six to IB 
pictures annually in Canada under the 
quota law. Mr. Glass declares he has con- 
tracts from a major company for dis- 
tribution. A building, suitable for sound 
stages, is Mr. Glass's initial object. . . . 


Organization of the Allied Theatre 
Owners of New York State was furthered 
at a Buffalo meeting last week, when 
Sidney Samuelson, national Allied presi- 
dent, addressed 40 independent theatre- 
men. Said he: "The exhibitor must de- 
mand clean pictures for two reasons, 
financial and good citizenship, hie has a 
civic responsibility to give (his patrons) 
decent shows." ... 


As a result of the printing patents In- 
fringement case initiated recently by Con- 
solidated Film Industries against the United 
States Cinema Corporation, New York 
supreme court Justice Collins last week 
awarded Consolidated a judgment of 
$50,796. . . . 


Its object being perfection of a new 
"mike" which would combine greatest 
acoustic, recording efficiency In smallest 
compass, the MGM sound department 
made hundreds of tests, finally developed 
a "bullet mike," which, easily manipulated, 
may be packed in a space three Inches 
wide by I 1 long. . . . 


Using the motion picture as the chief 
selling medium at Chicago World's Fair 
exhibits are two transportation lines, two 
manufacturing companies, with six subjects 
In exhibition. The companies, their films, 
all made by Castle Films: New York Cen- 
tral, "Flight of the Century"; Rock Island 
Lines, "Trail of the Golden State Limited," 
"Mile hiigh Colorado"; Elgin, "Time," 
"Time from the Stars"; General Motors, 
"Modern Velvet." . . . 


Perhaps of interest to motion picture 
producers is the result of a nationwide poll 
of radio listeners conducted by Radio 
Guide, to ascertain preference. The win- 
ners: stars, Joe Penner, Bing Crosby; pro- 
grams, Fleischmann, Show Boat, Chase and 
Sanborn; orchestras, Vl^ayne King, Guy 
Lombardo, Ben Bernie; teams, Amos and 
Andy, Burns and Allen, Myrt and 
Marge. . . . 


In New York last week presumably to 
discuss with Erpi a new producing deal, 
B. P. Schulberg, with four still to make, 
gave indications he will not renew his 
Paramount contract. In hlollywood reports 
continued current that he may sign with 
RKO Radio for a series of features. . . . 

In This Issue 

MPTOA osks penalties for double 

■featuring; Cochrane calls agitation 




All-Tinne "Best Sellers" of motion 


tures, books, plays, roadshows. 


and amateur plays 


1 1 

Dr. Short in search of educators' 


to bolster ranks of Motion Picture 

Research Council 



Theatres now placed at 16,850; 


thousand seat fewer than 500 







The Camera Reports 



J. C. Jenkins — His Colyum 



The Hollywood Scene 



The Cutting Room 




What the Picture Did for Me 



Showmen's Reviews 



Managers' Round Table 






The Release Chart 



Box Office Receipts 



Classified Advertising 




In the formation in California of a new 
independent theatre organization south of 
San Bernardino county by allies of Fox V^est 
Coast, evidence is seen of a split in the 
Independent Theatre Owners of Southern 
California. Filed were paper for the 
Theatre Owners Association of Southern; 
California, with Sherill Cohen, Elaine Wald- 
man and G. A. Metzger as directors. Its 
members will probably be asked to resigr> 
from the ITOA. . . . 


Still battling to consolidate its right tO' 
run Sunday shows in connection with sand- 
wich sales and via a restaurant license, the 
Orpheum, Memphis, Tenn., won an inltiaf 
victory as Chancellor Bejach granted ar» 
injunction, restraining the city from inter- 
fering with the theatre pending disposition. 
The court shortly will render a declaratory 
judgment on the issue. . . . 


Since MGM apparently has concluded a 
satisfactory deal in New York with 
Robert McNeill, president of United Cali- 
fornia Theatres and associated companies, 
on the new MGM lineup, the plans of 
Loew to build theatres in northern Cali- 
fornia, especially subsequent runs in Sarr 
Francisco residential districts, have beem 
abandoned, according to reports. . . . 


Riding further Into difficulty, 1 ,000 mem- 
bers of Local 306, New York projectionists" 
union, have asked President hHarry Sherman 
to resign. Another meeting this week will 
further discuss that request and another to 
drop his salary drastically. Justice James- 
A. Dunne, supreme court, will decide "on 
legal merits" whether the district attorney's 
office may keep the records of 306 and 
Empire State, seized last week for granc? 
jury investigation. . . . 


Attempting to halt the foreclosure sale 
of the Ambassador, Grand Central, Mis- 
souri theatres, St. Louis, to a bondholders' 
committee, Vitagraph, Inc., Warner Artists" 
Bureau and others have filed an involuntary 
debtor's petition against St. Louis Proper- 
ties Corporation. A delay until approval' 
of a reorganization plan by the court is the- 
object. . . . 


Attention will be given by the Missouri- 
Kansas Theatre Association, at is second' 
annual convention In Kansas City, July 17, 
to film rentals, score charges, percentage.- 
and code operations. . . . 

July 7 , 1934 




rHE air being full of this and that about The Code and the 
enduring issue of Double Billing, Motion Picture Her- 
ald has deemed it a service to the industry and perhaps a 
clarification of some of the muddy thinking of the day, to 
ask Mr. Robert H. Cochrane, vice-president of Universal 
Pictures Corporation and a member of the Code Authority, to con- 
tribute an exposition of the subject and its current status, legal and 
political, from his own point of view. Mr. Cochrane's many years 
of honorable service of the industry and his high personal repute make 
him an institutional authority quite independent of his several impor- 
tant official titles and connections. — TERRY RAMSAYE 


The most amazing phase of the quarrel about double features is the fact that 
most of the men who are trying to stop dual featuring are the very men who have 
claimed that they were oppressed by others in the past. In other words, exhibitors 
who have violently objected to submitting to orders from others are now trying 
to impose restrictions upon other exhibitors. 

The "poor exhibitor" (socalled) is trying to jam his own views down the throat 
of the poorer exhibitor! 

As a member of the Code Authority, I have watched the double feature 
squabble with a great deal of astonishment. 

I have seen organized attempts to stop double-featuring in Los Angeles, Detroit, 
Cleveland, Kansas City, Chicago and other points, and in each case, apparently, 
the movement was organized by exhibitors. In some cases the movement is sup- 
ported by distributors who are themselves, in their own theatres, using double 

Principle seems to have been cast to the winds. Exhibitors who have been 
oppressed in the past in various ways, now seem obsessed with the desire to oppress 
other exhibitors. Men who make their living out of stirring up trouble by telling 
certain exhibitors that they are oppressed are now trying to oppress other 

I have been In this business for 28 years. In all that time I have always noted 
that the man in power always abused his power, whether he was a producer, 
a distributor or an exhibitor. For that reason, nothing should surprise me. Yet I 
confess I am perfectly aghast at the attitude many men have taken on the 
double feature matter. 

To me, it seems plain that each theatre's policy is purely and simply the affair 
of that theatre, as long as it does not wreck the business. 

If I owned a theatre which could not make a profit on single features but 
could get out of the red by showing double features, I would run double features 
and fight the whole world if it tried to stop me. 

Yet now I see theatre groups trying to put other theatre groups out of business, 
out of nothing but pure selfishness and absolute lack of consideration of the other 
fellow's problem. 

The Universal company has always refused to be swayed by rotten principles. 
I do not know whether single or double features are best for Universal's persona! 
welfare; but I do recognize the fact that we are vitally interested in the welfare 
of eacfi Individual theatre with which we transact business, and I know from 
experience that what is one man's food is another man's poison in this peculiar 
business of ours. r i- 

So, to make the record clear, I reiterate Mr. Laemmie s declaration of policy 

{Continued on following page) 

Urging drastic local campaigns and 
severe penalities in new clearance schedules 
for theatres "guilty" of double featuring, 
the Motion Picture Theatre Owners of 
America is now calling upon its members 
to do everything in their power to put an 
end to a "vicious and unfair practice." 

Conceding that control of the practice is 
difficult, and citing lack of cooperation by 
the large distributors, the MPTOA, through 
a bulletin, urged exhibitors to support local 
clearance and zoning boards' actions in im- 
posing penalties. 

In New York a severe denunciation of the 
ef¥ort to outlaw dual programs was voiced 
by Robert H. Cochrane, vice-president of 
Universal Pictures and an unaffiliated dis- 
tributor member of the Code Authority. Mr. 
Cochrane, upon the invitation of Motion 
Picture Herald, expressed an opinion of 
the agitation to curb doubles in which he 
vigorously denounced the efforts now being- 
expended in the field to use the machinery 
of the motion picture code for "selfish pur- 
poses" in penalizing theatres using dual pro- 

Questions Exhibitors' Motives 

Mr. Cochrane questioned the motives of 
exhibitors now campaigning for abolition of 
duals and scored Local Clearance Boards for 
imposing penalties in new clearance sched- 
ules against double bill theatres. Such action 
by these boards is unjustified, Mr. Cochrane 
charged, because "there is not one zuord in 
the code which gives any local board the 
right" to inflict such penalties. 

Some of the affiliated distributors who are 
now attempting to force an end to double 
policies are themselves, in their own the- 
atres, using the system, he said. Mr. Coch- 
rane's remarks in full appear on this page. 

MPTOA Demands Elimination 

"Theatres playing single feature programs 
clearly should be protected against compet- 
ing theatres who show the same picture at 
or near the same time on a double feature 
program," the MPTOA said. "If double fea- 
tures are to be permitted in the town, surely 
it is only reasonable to require those thea- 
tres to follow the theatres playing single 
features. Local exhibitor associations should 
strongly and aggressively advocate suchi 
zoning provisions, which have been sucess- 
fully incorporated into several zoning plans 

Chicago exhibitors have abolished double 
featuring and business improvement is re- 
ported, according to the MPTOA. Los 
Angeles, Dallas, Kansas City, Philadelphia, 
Milwaukee and other localities were reported' 
to be making headway. Cleveland exhibitors, 
reached a unanimous agreement barring the- 

(Continued on following page) 



July 7 , 1934 

Consolidated Seen 
As Influential in 
Finances of RKO 


















The chart, based on Motion Picture Herald's tabulation of box office grosses, 
compares the total business done in twelve key cities during the ten weeks period 
from April 21 to June 23, 1934, with the receipts from the same cities during the 
corresponding period in 1933. The cities are Boston, Chicago, Cleveland, 
Hollywood, Kansas City, Los Angeles, Minneapolis, New York, Oklahoma City, 
Omaha, Portland, and San Francisco. 


{Continued from preceding page) 
on the double feature question when I say that we believe we can serve our own 
best Interest by serving the best interest of the major part of our customers. 

Some of the local clearance and zoning boards acting under the NRA are trying 
to penalize the theatre which uses double features. There Is not one word In the 
NRA Code which gives any local clearance and zoning board the right to do this. 
We fought this out In Washington last fall for a whole month with the result that 
the Code does not contain one word which justifies action against theatres which 
wish to use double features. The only inference which can be drawn from this is 
the Inference that each theatre has a right to run Its own affairs for Its own good, 
as long as It does not wreck the business of a greater number of theatres. 

As a member of the Code Authority, I shall always vote that double features 
are a matter of individual policy for each theatre, always provided that the good 
of the greatest number Is always taken into consideration. 

Double Bill Issue 
Is Still Unsettled 

(Contimted from preceding page) 

practice, but the situation there has since 
become complicated. 

"In spite of selfish and short-sighted 
opposition, and betrayal by professional ex- 
hibitor organizations, this form of cut throat 
competition is on its way out," the IMPTOA 
bulletin said. 

In Chicago, an unusual case filed before 
the Local Grievance Board last week was 
that of George Gehring of the Rosewood, 
seeking to force major distributors to sell 
him on a double feature policy and asking 
the local board to decide whether collusion 
had been practiced by the distributors. 

Since all major distributors are made de- 
fendants to the complaint, disposition of the 
case would require that they sit in judgment 
on an action directed against themselves, so 
the matter was transmitted directly to the 
Code Authority in New York without local 
board action. 

At Cleveland, since the signing of the 
agreement by exhibitors several weeks ago 
to eliminate double features, with the effec- 
tive date set for July 8, several theatres 
which had been closed for a long period of 
time have been taken over by other opera- 
tors and they are opening these houses on 

a double bill policy. The first is the Temple 
in Cleveland, now operated by Victor Wol- 
cott with ten cents admission. 

The drastic conditions and provisions con- 
tained in the initial clearance and zoning 
schedules for the Kansas City territory, 
which were designed to eliminate or sharply 
restrict duals, premiums, rebates and similar 
price reducing practices, were eliminated 
from the new clearance schedule set up by 
the local board late last week. The new 
plan makes no mention of trade practices 
which the initial schedule sought to regulate. 
Neither does it impose shorter protection 
for houses using stage shows. 

Although the Code Authority in New- 
York last week was reported to have voted 
evenly on the Los Angeles clearance and 
zoning schedule, the general opinion on the 
Coast is that double features will not be 
done away with. There is a clause in the 
local clearance schedule which provides a 
penalty of 182 days for theatres maintaining 
a dual policy. Objections were raised in the 
sector by two distributors and independent 
exhibitors. In addition to the 182 days' 
penalty, twin bill houses lose all right to 
priority of run. 

The proposed clearance schedule for Mil- 
waukee provides that any theatre showing 
dual bills at 35 cents evenings will get film 
on the basis of one-half of the regular eve- 
ning admission, and a subsequent run single 
feature theatre shall have pictures made 
available to it in its price classification. 

It is considered highly probable that Con- 
solidated Film Industries may wield an in- 
fluential voting stock power in RKO as a 
result of its acquisition of $1,825,208 of 
six per cent gold notes of RKO, which 
are secured by practically all of the stock 
owned by RKO in its directly and indi- 
rectly owned subsidiaries. 

The gold notes were acquired by Con- 
solidated from Chemical Bank and Trust 
Company and Commercial Investment Trust. 
Their original maturities were January 1 
and July 1, 1933, but under an agreement 
between RKO and the banks early in 1933, 
extensions were obtained so that the first 
of the notes, in the amount of $25,208, plus 
interest, did not mature until July 1, 1934. 
The balance falls due August 1 and the 
first of each succeeding month through Jan- 
uary 1, 1935, in the amount of $300,000. 
The July 1 maturity of $25,208 is being 
paid by RKO. Indications are, however, 
that negotiations looking to extension of 
the August 1 and subsequent maturities will 
be begun soon. 

Holds Voting Power 

Voting of the RKO stocks pledged as col- 
lateral securing the notes may be exercised 
by Consolidated in certain contingencies. 
Voting of the stock for the election of 
RKO directors, however, may be exercised 
only as directed by RCA. On all other 
matters the stock may be voted as directed 
by a committee of three, two to be named 
by H. J. Yates, president of Consolidated, 
and the third by David Sarnof¥, RCA presi- 
dent. In the absence of directions from 
this committee the stock may be voted in 
the "uncontrolled discretion" of Consoli- 

Negatives as Security 

Dividends or any other proceeds paid on 
the RKO subsidiaries' stock and notes, 
pledged as collateral on the gold notes held 
by Consolidated, are to be employed for 
the operation of a revolving credit fund 
out of which new loans are to be made to 
the operating subsidiaries of RKO for work- 
ing capital and current requirements. These 
new loans, according to the agreement, are 
to be secured in the case of Radio Pictures 
by chattel mortgages on completed films, a 
new film to be pledged as an old one be- 
comes obsolete. Consolidated has the right 
to deduct interest on the notes from this 
revolving fund, however. 

The pledging of the negatives was ob- 
jected to by RKO creditors over a period 
of months but the plan eventually received 
the approval of the United States circuit 
court of appeals in New York, and the 
creditor objections were halted. During 
the court attacks on the plan, attorneys for 
the RKO receivers declared that if the 
agreement was set aside the collateral se- 
curing the notes, which represents "sub- 
stantially all of the assets of RKO," could 
be sold by the note-holders and might result 
in putting RKO out of existence as a go- 
ing concern. 

July 7, 1934 



Records Show Close 
Relationships of All 
Amusement Industries 

On this and the following pages 
are pre-printed one of the special 
features of the 1934-1935 Almanac, 
now on the presses. 


The vital relationship among all the 
rmusement arts and industries — the mo- 
tion picture, the legitimate theatre, the 
book publisher, radio and the music world 
— becomes increasingly apparent through 
comparison of "best sellers" for all time. 

Based upon record sales of best selling novels, 
the longest runs of legitimate plays in New 
York and on the road, the world gross rentals 
of the industry's outstanding motion pictures, 
the record sales of popular songs and the most 
popular radio time, it is established that : 

'j Forty-six best selling novels out of a list of 
65 which sold 500,000 copies and over, have 
been made into motion pictures. 
2 Twenty-three legitimate theatrical productions 
' out of a list of 32 having 500 performances 
and over in New York City, have been made into 
motion pictures. 

O Twelve popular songs out of a list of more 
• than 100 which sold 1,000,000 copies or more 
were motion picture and musical comedy songs. 
(This, considering that the depression and other 
competitive forces set in within a year and one- 
half after sound pictures came into existence, is 
generally conceded to be a high percentage.) 
^ The gross rental winner of all time in the 

motion picture industry is "The Singing Fool," 
one of the first sound pictures, produced by War- 
ner Brothers and with a world total of $5,000,000. 
^ The record New York run for legitimate plays 

is credited to "Abie's Irish Rose," with 2,532 

^ The legitimate roadshow record in the United 
States goes to Joseph Jefferson's production 
of "Rip Van Winkle," which he played for at 
least 50 years, averaging 40 weeks annually, for 
a total of approximately 16,000 performances. 
"Uncle Tom's Cabin," which has played intermit- 
tently for about 40 years on the road, is said to 
have totaled nearly 15,000 performances. 
"J The best selling popular song — a war-time 
number — is "Keep the Home Fires Burninq," 
while "There's a Long, Long Trail" also is said to 
have sold approximately 3,000,000 copies. 
O The best selling novel is "In His Steps," pub- 
lished in 1899, with a record sale of 8,000,000 

O The most popular radio time is "Morning 
■ Devotions," heard daily on the NBC network, 
with 2,576 broadcasts. 

"The Singing Fool" — produced and released 
by Warner Brothers nearly one year after the 

(Contiiuied on fnHowing f>aqe) 



The Singin' Fool 

*Four Horsemen of the Apocalypse. 

*Ben Hur 

*The Big Parade 

*Birth of a Nation 


*The Covered Wagon 

The Jazz Singer 

Sunny Side Up '. . . . 

Broadway Melody 

The Cock-Eyed World 

*The Freshman 

*The Gold Rush 

*The Kid 

*The Ten Commandments 

42nd Street 

Sold Diggers of Broadway 

Grand Hotel 

I'm No Angel 

Little Women 

She Done Him Wrong 



Min and Bill 

Rio Rita 

*The Sea Hawk 

*Way Down East 

*What Price Glory? 

State Fair 

Footlight Parade 

*Seventh Heaven 

Common Clay 

Street Angel 

*Girl Shy 

All Quiet on the Western Front. . . 

Anna Christie 

*Beau Gesfe 

The Ch amp 

*Clty Lights 

Daddy Long Legs 

*Four Sons 

*Hunchback of Notre Dame 

*KIng of Kings 

*The Merry Widow 

*Safety Last 


*The Sheik 

*Stella Dallas 

*ThIef of Bagdad 

The Man Who Came Back 

*Hot Wafer 


i, 500,000 
J, 500,000 
i, 500,000 
i, 500,000 
i, 300,000 
!, 700,000 
!, 500,000 
1 ,800,000 
1 ,700,000 
1 ,500,000 
1 ,400,000 



Grifflth-U. A. 







Chaplln-U. A. 

Chaplln-F. N. 






RKO Radio 


RKO Radio 




F. N. 

, Griffith-U. A. 










Chaplln-U. A. 



P. D. C. 
F. N. 

Goldwyn-U. A. 
Falrbanks-U. A. 


Rel. Year 

Oct. '28 

Feb. '21 

Jan. '26 

Nov. '25 

Feb. '33 

Mar. '23 

Nov. '27 

Oct. '29 

Mar. '29 

Sept. '29 

Aug. '25 

Sept. '25 

Feb. '20 

Dec. '23 

Mar. '33 

Oct. '29 

May '32 

Nov. '33 

Dec. '33 

Mar. '33 

Feb. '31 

Feb. '32 

Dec. '30 

Nov. '29 

July '24 

Oct. '20 

Dec. '26 

Feb. '33 

Oct. '33 

June '27 

Aug. '30 

May '28 

Apr. '24 

May '30 

Mar. '30 

Sept. '26 

Dec. '31 

Mar. '31 

June '31 

Mar. '28 

Sept. '23 

May '27 

Sept. '25 

Apr. '23 

Apr. '24 

Nov. '2! 

Dec. '25 

Apr. '24 

Feb. '31 

Nov. '24 

Asterisk ('■"): silent picture 

{Continued on following page) 



July 7 , 1934 


(Continued from prcccdUig page) 
success of the industry's first all-talking motion 
picture, Warners' "The Jazz Singer" — hangs 
up the world all-time gross rental record with 
a total of approximately $5,000,000 paid into 
the company's coffers by theatres all over the 
world. The picture was released in October. 
1928, and starred Al Jolson. Its domestic 
gross rentals are reputed to have approximated 
$3,500,000 — the highest domestic figure e.we.r 

"The Jazz Singer" was the first all-talking 
film to be released, and while it was pre-emi- 
nently a financial success — chalking up about 
$3,500,000 in world rentals — its successor re- 
corded not only over one-third more in rentals, 
but received far greater world acclaim as en- 

"Four Horsemen" Second 

The second largest motion picture gross was 
earned by "The Four Horsemen of the Apoca- 
lypse," produced approximately two years after 
the close of the World War by the old Metro 
company, by Richard A. Rowland. "The Four 
Horsemen" took in $4,500,000 in world gross 
rentals. It got the largest gross of the silent 
picture era. 

Not only did this film break the record for 
silents, but it started a cycle of war pictures 
which was to run for nearly ten years. In this 
picture were starred the late Rudolph Valentino, 
then at the very height of his popularity, and 
Alice Terry. The book, by Vicente Belasco 
Ibanez, already had attained world success, and 
the film, coming at a time when a war-stricken 
world was beginning to emerge from the wreck- 
age, was seen as the first real treatise on the 
futility of war by the millions who viewed it 
throughout the world. 

It has long been the impression, both within 
and without the industry, that D. W. Griffith's 
"Birth of a Nation" was the biggest money 
maker in the history of the motion picture. Wild 
tales of $10,000,000 and $15,000,000 profits on 
the picture have come to be almost an accepted 
fact. Its gross rentals — profits before distribu- 
tion and production costs — totaled approximately 

Possibly the basis for the stories of "Birth 
of a Nation's" enormous profits is the fact that 
in three years of roadshowing in the United 
States alone, it took in more than $10,000,000 
at the box office. There also can be little doubt 
that the public paid more per capita to see the 
Griffith masterpiece than any motion picture 
ever made, the average admission price for the 
three-year roadshow approximating $1. 

In point of gross rentals, "Ben-Hur," starring 
Ramon Novarro and Francis X. Bushman, fol- 
lows "The Four Horsemen" with a total of 
$4,000,000. In eight months of roadshowing it 
brought box office receipts of $3,200,000. 

Oth ers Exceeding $3,500,000 

In addition to "Birth of a Nation," other pic- 
tures with gross rentals totaling $3,500,000 are 
"The Big Parade," "The Covered Wagon" and 
"The Jazz Singer." "Cavalcade," released in 
1933 by Fox, is expected to take in more than 
$3,500,000 by the time it has finished playing in 
the British Empire. To date (June 1, 1934), 
it is estimated "Calvacade" has grossed nearly 
13,000,000 in rentals, nearly three-fourths of 
which is said to have come from Great Britain 
and the Dominions. 

Roadshow figures on some of these outstand- 
ing films, in addition to those already men- 
tioned, show that "The Big Parade" took in 
more than $4,500,000 at the box office in 12 
months; "The Covered Wagon," $3,500,000 in 
nine months, and "Way Down East," another 
D. W. Griffith melodrama, with gross rentals 
totaling $2,000,000, exclusive of roadshowing, 

(Continued from preceding page) 

In Old Arizona 

*The Lost World 

Merely Mary Ann 

*Red Dance 


*Blood and Sand 

Bring 'Em Back Alive 

Connecticut Yankee 

*Daddy Long Legs 

Dr. Jekyll and Mr. Hyde 

Rolling Down to Rio 


*The Patent Leather Kid 

Song of My Heart 

""East Lynne 

*Grandma's Boy 

Bad Girl 

Amos 'n Andy .(Check and Double 


*The Miracle Man 


*Smilin' Through 

*The Spoilers 


\ ,300,000 





F. N. 












U. A. 











1 ,200,000 





Pickford-F. N. 








RKO Radio 








F. N. 



1 ,200,000 
















1 ,000,000 

RKO Radio 



1 ,000,000 




1 ,000,000 

F. N.-Tiffany 



1 ,000,000 

F. N. (Talmadge) 



1 ,000,000 




took in at the box office $2,225,000 in eight 
months on the road. 

Of the 72 motion pictures listed herewith 
with grosses of more than $1,000,000, 37 of 
them, or slightly more than one-half, are silent 

Fox leads the list with 17 pictures ; the old 
Metro company and MGM combined have 10 ; 
Paramount, nine; First National (Associated), 
eight ; United Artists, seven ; Pathe, six ; RKO, 
six ; Warner, five ; Universal, two, and Selig 
and Producers Distributing Corporation, one 

Both "Little Women" and "Footlight Parade," 
despite their comparatively recent release, are 
included in the listing because of their proven 
earning potentialities. RKO officials expect 
"Little Women" to be the outstanding financial 
success of 1934. The figures on both of these 
pictures are estimated on the basis of past and 
remaining bookings, both in this country and 
abroad. The same thing is true of "Rolling 
Down to Rio," also an RKO picture. 

Simple Plays Win Favor 
Among Amateur Theatres 

Amateur theatres and plaj^ers through- 
out the United States and Canr.da have 
long expressed their preference for sim- 
ple plays hke "The Patsy," according to 
Samuel French, Inc., of New York, the 
largest publisher of plays for amateur 
performing rights. Although no figures 
on the number of sold copies of outstand- 
ing favorites for this field were obtain- 
rble, the list indicates that such plays as 
"Jonesy," "Are You a Mason?" 
"Tommy," "Clarence" and "Seventeen," 

are the most popular with schools and 
juvenile dramatic societies. 

The publishing- house indicated that estab- 
lished Litde Theatres and university dra- 
matic clubs throughout the country lean 
more to the sophisticated drama of Broad- 
way for their material, and, accordingly, 
does not list many of these plays among the 
most popular. In this category come plays 
like "Smilin' Thru," "Berkeley Square," 
"Seven Keys to Baldpate," "The Cat and the 
Canary," and others. 

Royalties to the Samuel French company run 
from $15 a performance up to $75, chiefly from 
amateurs not playing for profit. 

The Patsy 

The Cat and the 

Are You a Mason? 
Daddy Long Legs 
Three Live Ghosts 
Broken Dishes 
Captain Applejack 
The Family Upstairs 
The Shannons of 

Little Women 
Smilin' Thru' 
Seven Keys to 

The Cost Train 
Hay Fever 


So This is London 


Mrs. Temple's 


Nothing But the 

The Nut Farm 
Green Stockings 
A Full House 
Come Out of the 

Bunty Pulls the Strings 
The Charm School 
It Never Rains 
Take My Advice 
The Youngest 
Adam and Eva 
Penrod and Sam 
The Fool 
Berkeley Square 

These plays are listed approximately in order of 
their popnlariiy. 

July 7, (934 








In His Steps Chas. Monroe Sheldon 1899 

"Freckles Gene Stratton Porter ' 

Hur Lew Wall 


191 I 

*GIrl of the Limberlost Gene Stratton Porter 

*The Harvester Gene Stratton Porter 

*Tona Sawyer Mark Twain 

*The Winning of Barbara Worth. Harold Bell Wright 1911 

*Laddie Gene Stratton Porter 1913 

*The Virginian Owen Wister 1902 

*The Call of the Wild Jack London 1917 

Story of the Bible Jesse Lyman Hurlbut 1904 

*Trail of the Lonesome Pine John Fox 1909 

*David Harum Edward Noyes Westcott 1900 

*Little Shepherd of Kingdom 

Come John Fox 1903 

Five Little Peppers and How 

They Grew Margaret Sidney 1881 

*Huckleberry Finn Mark Twain 1884 

*Pollyanna Eleanor Steward 1913 

*Black Beauty Anna Sewell 1877 

*Treasure Island Robert Louis Stevenson 1894 

*Trilby George du Maurier 1894 

*Rebecca of Sunnybrook Farm.. Kate Douglas Wiggin 1903 

America's Part in the World 

War R. J. Beamish & F. G. March. 1919 

*The Rosary Florence Barclay 1910 

The Calling of Dan Matthews .. Harold Bell Wright 1916 

Bird's Christmas Carol Kate Douglas Wiggin 1916 

Richard Carvel Winston Churchill 1899 

*Tarzan of the Apes Edgar Rice Burroughs 1914 

*When a Man's a Man Harold Bell Wright 1918 

*The Crisis Winston Churchill 1916 

The Other Wise Man Henry Van Dyke 1896 

Outline of History H. G. Wells 1926 

'"Sea Wolf Jack London 1904 

*The Eyes of the World Harold Bell Wright 1914 

*The Mysterious Rider Zane Grey 1920 

Dere Mable Edward Streeter 1918 

Man of the Forest Zane Grey 1920 

'Lavender and Old Lace Myrtle Reed 1902 

"The Covered Wagon Emerson Hough 1922 

Black Rock Edward Connor 1908 

We Charles Lindbergh 1927 

*The Shepherd of the Hills Harold Bell Wright 1907 

*AII Quiet on the Western Front. Erich Maria Remarque 1929 

*Anne of Green Gables L. M. Montgomery 1920 

*Last of the Plainsmen Zane Grey 

*Mrs. Wiggs of the Cabbage 

Patch Alice Hogan Rice 

*Main Street Sinclair Lewis ... 

The Story of Philosophy William J. Durant 1927 

Soldiers of Fortune Richard Harding Davis 1897 

eau Geste P. C. Wren 1925 

To Have and to Hold Mary Johnston 1900 

Over the Top Arthur Guy Empey 1917 

Penrod Booth Tarkington 




The Inside of the Cup Winston Churchill 1913 

*Quo Vadis Henryk Sienkiewicz 1896 

*Little Lord Fauntleroy Frances Hodgson Burnett. . . . 1886 

Looking Backward Edward Bellamy 1888 

Asterisk {'■') : Made into motion picttire Continued on page 16 


1 ,600,000 
1 ,454,000 


1 ,090,000 
1 ,000,000 
1 ,000,000 
1 ,000,000 
1 ,000,000 
1 ,000,000 

61 1,181 


Burroughs and Qrey 
Are Favorites Today 

The American reading public, which 
once bought 8,000,000 copies of a Kansas 
clergyman's imagined version of the 
second coming of Christ — "In His Steps" 
— has chosen Edgar Rice Burroughs and 
Zane Grey as its favorite Hving authors, 
though there are no final figures on the 
total sales of their various works. 

The Institute of Arts and Sciences of Co- 
lumbia University recently reported that all 
of the Grey and Burroughs books sell 10,000 ^ 
to 20,000 copies annually. 

The Bible, with 14,526,438 full editions and 
22,097,087 New Testaments sold in the past 50 
years, is probably the only single book that has 
sold more than the 8,000,000 copies accredited 
to Dr. Charles Monroe Sheldon's "In His 
Steps." published in 1899. 

Twain, Kipling and O. Henry 

Mark Twain, Rudyard Kipling and O. Henry 
are likely the most popular authors with the 
American public, in addition to Grey and Bur- 
roughs, in so far as total sales go. 

Of "Huckleberry Finn" and "Tom Sawyer," 
some 1,500,000 copies each have been sold in 
non-pirated editions in this country. Six niil^ 
lion volumes of a single set of O. Henry have 
been disposed of in the last 25 years. A million 
volumes of one expensive set of Kipling have 
been sold since it first was put out in 1900, and 
another Kipling set, less dear, sells 100,000 to 
150,000 volumes annually. 

All three of these authors — Twain, Kipling 
and Henry — have been so much pirated, sold in 
so many different sets, and published by so many 
different firms that no exact estimate of the 
total number of volumes sold by each can be 

Despite the apparently phenomenal success of 
"In His Steps," the book sells only 700 or 800 
copies a year now, according to Alexander 
Grosset, head of Grosset & Dunlap, greatest re- 
print publishing house in the country. 

"Freckles" Comes Next 

Following this book on the accompanying list 
of best selling novels comes Gene Stratton Por- 
ter's "Freckles," with 2,000,000 copies. Next in 
line is "Ben-Hur," with 1,950,000; "Girl of the 
Limberlost," 1,700,000; "The Harvester," 
1,600,000 copies, both of the last-named by Mrs. 

The list of best sellers as released recently 
by the Institute of Arts and Sciences did not 
include "Little Women," chiefly because its first 
world edition, published in 1869, sold little more 
than 250,000 copies. Since its first edition, how- 
ever, the book has been averaging about 750,000 
copies annually. There are now more than 14 
non-copyright editions on the market. 

Warner Plans Mystery Series 

Warner plans production of a series of 
detective features based on the mystery 
stories by Erie Stanley Gardner, with War- 
ren William in the role of Perry Mason, 
detective. The first, "The Case of the 
Howling Dog," is now in production. 



July 7 , 1934 


Set World Record for 
Continuous Showings 

A comedy that was peddled to dozens 
of New York's most enterprising theatri- 
cal producers, only to be rejected by each 
of them until, in sheer desperation, its 
author, Mrs. Anne Nichols, borrowed a 
small sum of money and produced it her- 
self, set the record for continuous per- 
formances of a legitimate play, not only 
in New York but for the world. The 
name of the play was "Abie's Irish Rose." 
fhe record number of stage performances 
accredited it in New York City was 2,532. 

Mrs. Nichols is reputed to have realized 
personally in excess of $3,000,000 as a re- 
sult of "Abie's" activities throughout the 
world. The play has been performed by 
every stock company in the United States 
aiTjd Canada. It has been translated into 
every known language. 

Next on the list of record New York runs 
of 500 performances or over, comes "Lightnin'," 
which John Golden produced with the late 
Frank Bacon in the leading part. "Lightnin' " 
had 1,291 consecutive performances in New 

Some idea of the actual length of these runs 
in months is indicated in the fact that with eight 
performances weekly — two matinees and six 
nights — it is possible for a play to chalk up no 
more than 416 performances annually — not 
counting benefits. Thus, "Abie" ran just over 
six years and "Lightnin'," just over three. 

"The Bat" Comes Third 

"The Bat," a mystery play, comes third on the 
list of 32 plays with more than 500 perform- 
ances to their credit, with 878 consecutive per- 

Of the 32 plays, 23 were made into motion 
-pictures, and of these, 10 were sound pictures. 

Five hundred performances of a play in New 
York, London, Berlin or Paris always is con- 
sidered an unusual run. A play generally is ad- 
judged a success if it is able to register 250 per- 
formances, or a little more than six months. 
Therefore, in spite of the fact that it is neces- 
sary to set a limitation for the sake of com- 
parison with the figures of other amusement 
enterprises presented herewith, it is obvious that 
certain plays like "Grand Hotel," with 444 con- 
secutive performances, should receive due credit. 

Other more recent plays coming in this cate- 
gory include "Once in a Lifetime," 401 perform- 
ances ; "The Barretts of Wimpole Street," 372 ; 
"Counsellor-at-Law," 293 ; "Reunion in Vienna," 
280; "Private Lives," 248; "Another Lan- 
guage," 428; "Dinner at Eight," 243. Some of 
the recent musical hits include "Of Thee I 
Sing," with 478 performances ; "The Cat and 
the Fiddle," 395; "Gay Divorce," 248; "Take 
a Chance," 246; Earl Carroll's (1931-32) "Vani- 
ties," 300; "The Band Wagon," 262, and "The 
Laugh Parade," 243. 


Buy Showcraft Interest 

John T. Bergen & Company, investment 
bankers, Harry Dahn and Jack Bergen, 
have purchased a half-interest in Showcraft 
Pictures, Inc. Adolph Pollak, president, 
and Emil K. Ellis own the other half. Mr. 
Pollak has left for Hollywood to set the 
first two of 18 features planned. 

Production Performances 

*Abie's Irish Rose 2,532 

*Ligh+nin' 1,291 

*The Bat 878 

*White Cargo 864 

The Ladder 794 

*RaIn 741 

*The First Year 725 

*Seventh hHeaven 683 

*Rose Marie 681 

Green Pastures 640 

*ls Zat So? 634 

*The Student Prince 612 

*Broadway 603 

*Street Scene 600 

Wlldflower 586 

*The Show-Off 585 

*Kiki 580 

''Show Boat 575 

*StrIctly Dishonorable 563 

*Sally 56! 

''Good News 557 

Blossom Time 556 

Chauve-Sourls 544 

Zlegfeld Follies of '22 541 

Zlegfeld Follies of '25 520 

Blackbirds of 1928 519 

■'The New Moon 518 

*Sunny 517 

*The Vagabond King 508 

*RIo Rita 504 

''Cradle Snatchers 501 

Bird In Hand 500 

'''Made into moticm pictures. 


Anne Nichols 
John Golden 
Wagenhals & Kemper 
Earl Carroll 
United Actors, Inc. 
Sam hlarrls 
John Golden 
John Golden 
Arthur Hammerstein 
Laurence Rivers, Inc. 
Earle Boothe & Lee & J. 

J. Shubert 
Lee & J. J. Shubert 
Jed hlarrls 
William A. Brady 
Arthur Hammerstein 
Stewart & French 
David Belasco 
Florenz Zlegfeld 
Brock Pemberton 
Florenz Zlegfeld 
Schwab & Mandel 
Lee & J. J. Shubert 
F. Ray Comstock & Mor- 
ris Gest 
Florenz Zlegfeld 
Florenz Zlegfeld 
Lew Leslie 
Schwab & Mandel 
Charles Dillingham 
Russell Janney 
Florenz Zlegfeld 
Sam Harris 
Lee Shubert 

Ned Wayburn Forms New 
Film Producing Company 

Ned Wayburn, noted New York stage 
and musical show producer, has formed a 
new film producing organization, to be 
known as the Ned Wayburn Picture Com- 
pany, with offices and rehearsal studios at 
625 Madison avenue. New York. 

The company will serve as an adjunct to 
the Ned Wayburn Producing organization, 
which plans a musical revue, musical film 
shorts, a feature radio program and a legiti- 
mate play, in the fall. The picture company 
will produce features, shorts and novelty 



Win Hollywood Trip 

Miss Lise Pehrson and Niels Boel-Ras- 
mussen, of Denmark, have been adjudged 
the winning couple in a dance contest held 
in 11 European cities, the prize being a trip 
to New York and Hollywood as guests of 
Joan Crawford, MGM star. The couple 
will be accompanied by Kay Holbech, 
Danish newspaperman. 

Authors Fund Benefits 
Plagiarism Settlement 

The net proceeds of the recent settlement 
of the plagiarism suit of Richard Wash- 
burn Child against Paramount, will be 
donated to the Authors League Fund, ac- 
cording to Herbert McKennis, attorney for 
Mr. Child. Although the case was disposed 
of as without basis in plagiarism by the 
court, the settlement, between $2,000 and 
$3,000, preceded that disposition, the at- 
torney declared. 

The suit was brought by Mr. Child on the 
basis of his novel, "The Avenger," which, 
he contended, was plagiarized in the Para- 
mount picture "One Sunday Afternoon," 
which in turn was taken from the play of 
the same title, written by James Hagan, also 
a defendant. 

Toeplltz Announces First 

Toeplitz Productions, recently formed in 
London, will produce "The Dictator" as its 
initial venture. The film will be a costume 
story concerned with Sweden in the 18th 

July 7, 1934 





Heard 2,576 Times 


Morning Devotions 


Uncle Don 

National Farm and Honne Hour 

Lady Next Door 

Orphan Annie 

Amos 'n' Andy 

The Moonbeams 

Ida Bailey Allen 

Guy Lombardo 

Kate Smith 

The Goldbergs 

Morton Downey 

Major Bowes 


Clara, Lu 'n' Em 

Singing Lady 

These figures are as of tAay 1, 1934. 

Vanderlip Cites 
Paramount Gains 

Paramount Publix has worked itself back 
into definitely profitable operations, with its 
first quarter earnings estimated at $1,600,- 
000, a cash position improvement of 
$1,152,356 in the first nine months ended 
June 9, and accumulation of $10,000,000 in 
cash, according to Frank A. Vanderlip, 
chairman of a debenture holders' protective 
committee, in a statement issued by him on 
the company's advancement toward an early 
clearance of the receivership. 

"Great progress has been made in work- 
ing out reorganization plans," Mr. Vanderlip 
said last week, "and adjustments have been 
made with the majority of important land- 
lords who have claims against the company 
on long-term leases of theatre properties. 
Also, a report has been completed by audi- 
tors for bankers and another is in progress 
for the stockholders' committee." 

Representatives of stockholders, creditors 
and bondholders will appear before Federal 
Judge Coxe in New York July 10, and a 
sharp contest is expected among the various 
committees as to the method to be adopted 
for working out the company's complete re- 

Bankers may offer a plan which will in- 
clude an assessment on the common stock, 
such an assessment being used, it is assumed, 
to pay off the $13,000,000 of bank loans 

Stockholders are reported as likely to 
oppose such a plan on the ground that, with 
earnings running well in excess of interest 
requirements on both bonds and bank loans, 
and a strong cash position, it vvould be pos- 
sible to reorganize without putting the prin- 
cipal burden on the holders of the common 
stock of the company. 







1 ,900 






1,41 1 
























Motion Picture Relief Fund 
Officers Elected on Coast 

Marion Davies was reelected president of 
Motion Picture Relief Fund in Hollywood, 
at the annual meeting last week. Other of- 
ficers named were : Ronald Colman, first 
vice-president ; Mary Pickford, second vice- 
president ; Will H. Hays, third vice-presi- 
dent ; Samuel Goldwyn, fourth vice-presi- 
dent ; M. C. Levee, treasurer, and F. X. 
Bauer, executive secretary. 

The new trustees, elected for three years, 
are : Irving Thalberg, Janet Gaynor, Frank 
Craven, Fredric March, Joe E. Brown. Re- 
elected for three years were : Richard 
Barthelmess, Miss Davies, Cecil B. DeMille, 
William Randolph Hearst, Carl Laemmle, 
Sr. Plans were completed for an extensive 
campaign to raise $200,000 for current re- 
lief work. 

Gaumont Moves Offices 

The offices of Gaumont British Pictures 
Corporation of America have been removed 
from 226 West 42nd street. New York City, 
to 1600 Broadway. The change has been 
made necessary, according to Arthur A. 
Lee, vice-president, because of the necessity 
for larger quarters. 

MGM Takes Sydney House 

The St. James, 2,000-seat theatre in 
Sydney, Australia, has been taken over by 
MGM, and will be reopened July 6, with 
"Riptide" as the feature attraction. 

Cummins Has Fascist Film 

Samuel Cummins has acquired American 
distribution rights to "The Black Shirts," 
produced in Italy under Premier Mussolini's 
supervision. The picture, in its present 
form, runs 13 reels. 

Seventeen radio programs have passed 
tlie 500-performance mark, an achieve- 
ment comparable to the extraordinary 
run of "Abie's Irish Rose" on the New 
York stage. 

The leading program, with 2,576 perform- 
ances to its credit, is "Morning Devotions," 
heard six days weekly over the National 
Broadcasting Company's network. Second 
on the list is "Cheerio," also an NBC fea- 
ture, with 2,400 broadcasts ; National Farm 
& Home Hour, 1,706; Lady Next Door, 
1,475, and Orphan Annie, 1,411, all on NBC. 

For the Columbia network Ida Bailey Allen 
leads with 1,240 broadcasts, followed by Guy 
Lombardo's orchestra with 1,040. 

Station WOR in Newark, N. J., has presented 
"Uncle Don" to radio audiences 1,900 times, 
and "The Moonbeams," 1,366. 

Big Task in New Ideas 

According to Orin E. Dunlap, Jr., writing- 
in the New York Times, the broadcasters have 
discovered that their big task is not in per- 
forming, but in finding new ideas. 

"Whenever an orator or an actor faced the 
microphone in the early days of broadcasting he 
wondered how he might collect enough fresh 
thoughts for more than one or two broadcasts," 
said Mr. Dunlap. "Delighted by the fact that 
on the lecture platform the same speech might 
be used repeatedly, he was stunned by the in- 
satiable radio's insistence on something new 
at every performance. And it looked as if each 
performer, especially speakers, might pass from 
the air after a week or so. But it worked out 

John Royal, program director at NBC, be- 
lieves that a radio serial program will enjoy a 
long run if it meets in some manner some psy- 
chological requirement felt by a large portion 
of the public. 

"It may be the personality of the artist or 
the novelty of the presentation or the human 
appeal of the message, but, whatever the quality 
of its components, the broadcast hits the spot 
with the average man or woman," Mr. Royal 

Twelve Requirements 

A study of the long-run broadcasts reveals 
that there are 12 vital ingredients, at least one 
of which is found necessary to the program — 
naturalness, voice personality, friendliness, time- 
liness, diversity, suspense, drama, education, 
melody, individuality, quality and humor. 

While the list of record radio "runs" is lim- 
ited to 500-performance minimums, it must be 
remembered that some of the most popular pro- 
grams on the air today are on only once a 

250 Vallee Performances 

Outstanding among these is Rudy Vallee, who 
has given approximately 250 performances on 
the air over a six-year period. Will Rogers' 
series for Gulf Gasoline is in its second year, 
and the humorist has made about 75 appear- 
ances before the microphones. The same is true 
of Eddie Cantor and Bing Crosby. 

Walter Damrosch inaugurated the NBC net- 
work on November 15, 1926, and has been on 
it regularly ever since, with about 300 perform- 
ances on one program and 156 on another. 


July 7, I 934 


The Roadshow Field : 


Production Season Weekly Gross Years Performances 

Rip Van Winkle 40 weeks $16,000 50 16,000 

Uncle Tom's Cabin 40 weeks 16,000 40 15,000 

Ben Hur 40 weeks 16,000 15 4,800 

Music Master 50 weeks 20,000 12 4,800 

The Man From Home 40 weeks 16,000 12 3,840 

Arizona 40 weeks 15,000 10 3,200 

The Squaw Man 40 weeks 15,000 10 3,200 

Cyrano de Bergerac 30 weeks 17,000 10 2,400 

Charlie's Aunt 40 weeks 15,000 9 2,880 

Turn to the Right 40 weeks 15,000 6 1,920 

Lightnin' 40 weeks 16,000 5 1,600 

Seventh Heaven 40 weeks 15,000 5 1,600 

f Green Pastures 52 weeks not available 4 1,664 

Abie's Irish Rose 40 weeks 17,000 3 960 

The Fool 40 weeks 15,000 21/2 800 

Friendly Enemies 40 weeks 15,000 2 640 

Of Thee I Sing 78 weeks 25,000 1 1/2 624 

Wizard of Oz 70 weeks 18,000 M/2 560 

Barretts of Wimpole Street 

(Repertoire) 400 

Barretts of Wimpole St 20 weeks not available 160 

Biography 1 7 weeks not available 136 

'''These figures denote the performances of straight road-shoivs, ivhich started from a central point. 
The 15,000 performances of thk play given herewith do not include those contributed by countless 

"tent" shows and stock performances. There were once 24 companies playing this at one time. 
**Richard Mansfield played "Cyrano" in his repertoire for over 20 years. The performances 
listed for this play are those of the Walter Hampden tours, still extant. 
\"Green Pastures" is still running on the road with the original company. 
N. B.: All of these plays were picked at random and represent, for the most part, typical enter- 
tainment of the period. The figures on performances and box office grosses have been con- 
tributed by authoritative "old-time" roadshowmen. 

The "road" was once a field of legiti- 
mate theatrical endeavor where many 
managers made a deal of money. Today, 
despite much talk and agitation concern- 
ing its revival from the state of mori- 
bundity in which it has been for many 
years, it is distinctly not a source of 
profits for theatrical managers. 
I The all-time record in roadshowing of 
lpg*itimate attractions unquestionably is held 
by the late Joseph Jefferson's version of "Rip 
Van Winkle," which he performed year after 
/ year for more than 50 years to the tune of 
about $32,000,000 in box office receipts, based 
on an average of $16,000 weekly for 40-vveek 
seasons during that time. 

To be sure, Mr. Jefferson's showings of this 
production should come within the category 
of revivals, but the fact remains that Mr. Jef- 
ferson himself played the leading part in the 
play for 50 years — something unprecedented in 
the annals of the theatre. 

Next on the list of roadshows would come 
"Uncle Tom's Cabin," which has played every 
city and "tank" in the country for 40 years or 
more, bringing its total performances up to 
about 15,000. 

4,800 "Ben-Hur" Perfornnances 

"Ben-Hur" averaged a 40-week season for 15 
years, with average weekly grosses amounting 
to 116,000, making a total number of perform- 
ances approximately 4,800. 

David Warfield's "Music Master" and its po- 
sition in the American theatre are unique for 
two reasons ; first, it had the longest straight 
runs, uninterrupted, in theatrical history — 12 
years — with a total of about 4,992 performances ; 
and, secondly, in 1913 it set what is probably 
a business record in the American theatre, tak- 
ing in $100,000 at the box office in only four 

The competition of the motion picture, coupled 
with the general depression, undoubtedly served 
to further the downward trend of legitimate the- 
atre attendance "on the road." The low admis- 
sion prices of the motion picture theatre have 
been too much for the roadshow manager and 
serious financial difficulties and even bankrupt- 
cies have come to be the lot of some of the 
theatre's most noted roadshowmen. The talk- 
ing picture, when it made its appearance in 1927 
and 1928, was the last straw, though even long 
prior to the depression potential audiences in 
the field had been educated to the lower admis- 
sions of the motion picture theatres for their 
entertainment. This development began with 
the advent of the feature pictures in 1912. 

40 Weeks Then, 20 Now 

Ten years ago a route sheet which sent a 
company into 150 cities and towns was a com- 
mon occurrence. Many such routings, to be 
sure, were often split weeks — three days in one 
city and three in the next — but a good play was 
almost always assured of at least 40 weeks on 
the road. 

Today, as indicated in the list of successful 
roadshows, the records for the past two years — 
not including "Green Pastures," which has been 
out on the road for four years with a total of 
something like 1,280 performances — are held by 
Katharine Cornell's 20-week tour of the "Bar- 

retts of Wimpole Street," and the New York 
Theatre Guild's 17-week tour of "Biography." 

What the depression did to the New York 
theatre — notwithstanding the tremendous im- 
provement of the current legitimate season over 
any one of the past four — is seen in the fact 
that there are now only 35 theatres left for 
legitimate drama, as against 68 in 1929, the 
peak season. 

Has World Wide Franchise 

World Wide Pictures, fnc, has awarded 
the Buffalo and Albany territory franchise 
to Charles H. Tarbox, of F. C. Pictures 

Takes Two Nebraska Houses 

The Westland Theatres Corporation of 
Denver has taken over the Rialto and State 
theatres in Lincoln, Neb., acting through an 
affiliate incorporated as Cornhusker Thea- 
tres. Local independents previously had 
operated the theatres. 

Has New 8mm. Projector 

The Bell and Howell Company, Chicago 
equipment manufacturer, has completed a 
new 8mm. motion picture projector, which 
throws pictures on a screen five or six feet 
wide, and which is designed for home use. 


{Continued from page 13) 

Beside the Bonnie Briar Bush Ian MacLaren 1894 500,000 

*Janice Meredith Paul Leicester Ford 1899 500,000 

♦Brewster's Millions George Barr McCutcheon ... . 1904 500,000 

The Perfect Tribute Mary Raymond Andrev/s 1906 500,000 

Pollyanna Grows Up Eleanor Steward 1915 500,000 

*The Sheik E. M. Hull 1921 500,000 

*Graustark George Barr McCutcheon 1901 500,000 

*The Circular Staircase Mary Roberts Rinehart 1908 500,000 

*Of Human Bondage W. Somerset Maugham 1915 500,000 

''Made into motion pictures. 

July 7, 1934 





Keep the Home Fires 

Burning 3,000,000 

There's a Long, Long Trail, . 3,000,000 
Down by the Old Mill 

Stream 2,500,000 

Marcheta 2.500,000 

Pack Up Your Troubles. . . . 2,500,000 

St. Louis Blues 2,500,000 

Sweet Adeline 2,500,000 

A Bicycle Built for Two 2,000,000 

After the Ball Was Over. . . 2,000,000 

■ Just a Love Nest 2,000,000 

Little Grey Home in the 

West 2,000,000 

Madelon . . . 2,000,000 

Over There • 2,000,000 

Ramona 2,000,000 

Sidewalks of New York. . . . 2,000,000 

Smiles 2,000,000 

TIpperary 2,000,000 

When You Were Sweet Six- 
teen 2,000,000 

Poor Butterfly 2,000,000 

Valencia 2,000,000 

Oh, How I Hate to Get Up 

in the Morning 1,750,000 

fRose Marie 1,750,000 

Sweet Rosie O'Grady 1,750,000 

fWho? 1,750,000 

A Kiss in the Dark 1,500,000 

A Pretty Girl Is Like a 

Melody I. .500,000 

Babes in the Wood 1,500,000 

Bambalina 1,500,000 

Charleston 1,500,000 

Blue Room 1,500,000 

I Might Be Your Once in a 

While 1,500,000 

I'm Always Chasing Rain- 
bows 1,500,000 

If You Were the Only Girl 

in the World 1,500,000 

It Ain't Gonna Rain No 

More 1,500,000 

Japanese Sandman 1,500,000 

K-K-K-Katie 1,500,000 

Last Long Mile 1,500,000 

Let's Do It, Let's Fall in Love 1 ,500,000 

Limehouse Blues 1,500,000 

Love Will Find a Way 1,500,000 

Mammy 1,500,000 

Margy 1,500,000 

Moonlight and Roses 1,500,000 

My Blue Heaven 1,500,000 

Oh, How I Hate to Get Up 

in the Morning 1,500,000 

fRio Rita 1,500,000 

Sheik of Araby 1,500,000 

Shine on Harvest Moon .... 1 ,500,000 

Some of These Days 1,500,000 

f Sonny Boy 1,500,000 

'Tea for Two 1,500,000 

\Motion picture songs. 

Tell Me Little Gypsy 1,500,000 

The Girl Friend 1,500,000 

The Song Is Ended 1,500,000 

Till the Clouds Roll By. . . . 1,500,000 

'Til We Meet Again 1,500,000 

Waltz Me Around Again, 

Willie 1,500,000 

What'll I Do? 1,500,000 

When Day Is Done 1,500,000 

Whispering 1,500,000 

Wildflower 1,500,000 

A Cup of Coffee, a Sand- 
wich and You 1,000,000 

An Old Fashioned Wife 1 ,000,000 

Beautiful Ohio 1,000,000 

Because I Love You 1,000,000 

Because of You 1,000,000 

fBest Things In Life Are Free 1,000,000 

Black Bottom 1,000,000 

Blue Skies 1,000,000 

Bye Bye Blackbird 1,000,000 

Cherie, 1 Love You 1,000,000 

Collegiate 1,000,000 

Come Along, My Mandy.. 1,000,000 

Crinoline Days 1,000,000 

Deep in My Heart 1,000,000 

Give My Regards to Broad- 
way ; . 1 ,000,000 

fHallelujah 1,000,000 

Has Anyone Here Seen 

Kelly? 1,000,000 

t Indian Love Song 1,000,000 

I'm Forever Blowing Bubbles 1,000,000 
I've Got a Feeling I'm Fall- 
ing 1,000,000 

I Want to Be Happy 1,000,000 

Irene 1,000,000 

Just Like a Melody 1,000,000 

Just a Cottage Small 1 ,000,000 

Just a Memory 1,000,000 

Katinka 1 ,000,000 

Learn to Smile 1,000,000 

Left All Alone Again Blues. 1,000,000 

Let Me Call You Sweetheart 1,000,000 

Look for the Silver Lining. . 1,000,000 
Love Sends a Little Gift of 

Roses 1,000,000 

fLover, Come Back to Me. . 1,000,000 

Lucky Day 1,000,000 

t My Heart Stood Still 1,000,000 

Maine Stein Song 1,000,000 

Memory Lane 1,000,000 

'Neath the South Sea Moon 1,000,000 

No Foolin" 1,000,000 

Oh, How I Miss You To- 
night 1,000,000 

Old Man River 1,000,000 

Old Pal of Mine 1,000,000 

Put on Your Old Gray Bon- 
net 1,000,000 

Red Hot Mamma 1,000,000 

Remember— 1,000,000 

War ^ongs Lead in 
Sales of Sheet Music 

"Keep the Home Fires Burning" — 
one of the two leaders in the sales of 
popular songs, with more than 3,000,000 
copies sold — was written by Ivor Novello, 
shortly after the outbreak of the World 
War. Mr. Novello, one of England's 
outstanding contributions to the world of 
the theatre, the motion picture and literary 
endeavor, was only 18 years old at the 
time and he little dreamed that his song 
would blanket the English-speaking 
world as it did. It was popular in the 
United States long before this country — 
as a whole — had any idea of entering the 
overseas conflict. 

Next on the song list, which gives mini- 
mum approximate figures, comes "There's a 
Long, Long Trail," another war song which 
sold as much as the Novello composition. 
"Down by the Old Mill Stream," a real old- 
timer, follows with an estimated 2,500,000 
copies sold. 

Before the advent of radio, the average sales 
life of popular song hits was 16 months, and 
when potential customers heard a song in the 
theatre or the music store, they bought copies 
of sheet music. Total sales advanced slowly, 
reached a peak and maintained that peak sale 
for several months, thus assuring a fair re- 
muneration to the composer for the exercise 
of his creative genius. Then the sales would 
drop off rapidly. An outstanding song hit would 
sell at the average minimum rate of 1,156,000 

Then came radio, and the composer's income 
from the sale of sheet music and phonograph 
records declined, despite the fact that hundreds 
of radio stations played his songs over and over 
again. The radio seized each new song hit 
and played it to death within three months, the 
Society of Composers, Authors and Publishers 
explain, and the composer's income crashed. To- 
day, the total sale for an unusually outstanding 
song hit is averaging about 229,000 copies. 

Total sales of sheet music in dollars reached 
a high in 1926 of $3,447,775. In 1932, total sales 
had declined to $827,154. These figures are 
based on the statistics of three leading song pub- 
lishers and were published last year in a book- 
let sponsored by the ASCAP, entitled "The 
Murder of Music." 

A factual example of what effect the radio 
has had on the music publishing business is seen 
in the fact that in 1927 alone "Ramona" sold 
1,750,000 copies of sheet music, while in 1931, 
the "Maine Stein Song," made popular by Rudy 
Vallee and generally considered the outstand- 
ing success of that year, sold 900,000 copies. 
The song had been literally "done to death" on 
the radio, and, while 900,000 copies in one year 
is considered an excellent sale, it is only about 
one-half the sale of "Ramona." 

In spite of this apparently important part 
which music plays in the lives of the American 
people, it cannot be doubted that it is losing 
financially, if not in influence. 

In 1929, the total amount of money spent 
for radios was $592,068,000, cheaper radios 
making it possible to lower that figure to $124,- 
860,000 in 1932. Expenditures for broadcast ad- 
vertising in 1932 were $39,107,000. As radio 
expenditures have increased, the money spent 
by the public for pianos has similarly decreased. 
In 1925, sales of pianos brought $93,670,000, and 
in 1931 only $12,000,000. 




Herewith appears the latest photographic recording of Mr. Joseph I. Breen, director 
of the Production Code Administration, the motion picture industry's response to 
the Legion of Decency, pictured with his family at their residence in Hollywood. 
This is evidence enough that Mr. Breen may be considered an authority of experience 
on the requirements of a typical, healthy and lively American family, running the 
whole scale of ages represented in the motion picture audience, heft to right, seated: 
Natalie, Frances, Tommy, Helene; standing: James, Mr. and Mrs. Breen, Joseph. 

Eleven Thousand Are in Conn- 
munities Having Less Than 
20,000 Population; 3,235 
in Cities of Over 200,000 

The extent to which the motion picture 
industry depends on small communities for 
its box-office upkeep was learned this week 
in a survey which shows that 11,000 the- 
atres of a newly-estimated total of 16,850 
in the United States are located in places 
having a population of less than 20,000 
persons, and 10,000 houses seat 500 or less. 

Only eleven hundred theatres of the coun- 
try's total structures seat 3,000 or more, all 
others seating under 1,500. 

Only 3,235 theatres operate in cities with 
populations exceeding 200,000 persons, 
while 3,830 are in communities hav- 
ing 1,000 and fewer inhabitants. 

Motion pictures are projected on the 
screens of theatres in some 9,260 cities, 
towns and hamlets of the United States, 
divided as follows : 

No. of Towns 

No. of 

Population of Towns 

With Theatres 


Over 500,000 



200,000 to 500,000 



100,000 to 200,000 



50,000 to 100,000 



20,000 to 50,000 



7,500 to 20,000 



4,000 to 7,500 



2,000 to 4,000 



1,000 to 2,000 



1,000 and less 






On the basis of the following classifica- 
tion of theatres according to size, the esti- 
mated absolute maximum theatre capacity 
of the country's theatres would approximate 




Over 3,000 110 

2,000 to 3,000 346 

1,500 to 2,000 621 

1,000 to 1,500 1,327 

500 to 1,000 4,280 

200 to 500 8,190 

200 and less 1.975 

TOTALS 16.849 

Theatres having capacities of between 
200 and 500 seats far exceed in number 
those theatres of any other size, 8,190 — • 
almost half — accommodating between 200 
and 500 persons. Seven-eighths of all the 
country's theatres seat under one thousand, 
there being about 14,500 in this classifica- 

Loew Declares Dividend 

The board of directors of Loew's, Inc., 
this week declared a quarterly dividend of 
$1.62j/2 per share on the outstanding $6.50 
cumulative preferred stock, payable August 
15, to stockholders of record July 28. 

Paramount Continues Ban 
On All lO-Cent Theatres 

Paramount, continuing its current season 
policy, will maintain its ban during 1934-35 
on selling to 10-cent theatres. This subject, 
in addition to the question of double bills and 
preferred playing time, is highlighting re- 
gional sales meetings now being held. 

Meanwhile, in Washington, the first of a 
two-day regional meeting was opened on 
Monday, with J. J. Unger presiding. 

New Labor Board Setup 

By an order of President Roosevelt, signed 
this week before leaving on his vacation, an 
impartial labor board of three members to 
investigate and mediate disputes during the 
remainder of the statutory life of the NRA 
was created. By this move, labor matters 
are taken out of the hands of General Hugh 
S. Johnson and the NRA, and transferred 
to the new board. 

Southern Association To 
Meet in Atlanta July 8-9 

The GFTA Independent Theatre Associ- 
ation, of which Ike Katz, Montgomery, 
Ala., is president, has set July 8-9 for its 
first convention, to be held at Atlanta. The 
organization, one month old, claims to have 
100 members. Edward Golden, Monogram 
sales chief, will be one of the principal 
speakers at the meeting, which will be at 
the Ansley Hotel. 

Henry Ginsberg's Father Dead 

David Ginsberg, father of Henry Gins- 
berg, vice-president and general manager of 
Hal Roach Productions, died in New York 
last week. He was past 70. 

Arrange Chicago Sales 

Irving Mandel's Security Pictures is han 
dling Master Arts sales in Chicago under 
the new distribution plan of Master Arts. 

July 7, I 934 




Francis, Warner star. 

CONTRACT. (Below) For 
Gregory La Cava, new 
MGM director. 

PENNIES FOR HORSES. A whole pail of them, 
collected from employees of the Radio City Music 
Hall, presented by a few Rockettes to General 
Louis B. Stotesbury, who represents the Humane 
Society of New York. 

HOLLYWOOD BOUND. Where Erik Rhodes, of 
the New York and London companies of last sea- 
son's stage play, "The Gay Divorce," will resume 
his original role for RKO Radio's cinematization 
of the play, using the same title. 

COLUMBIANS MEET. Delegates to the Columbia eastern sales convention at Atlantic City this week greeting Vice-President 
Jack Cohn, on his arrival. Left to right: Louis Barbano, Hal Hode, Nate Spingold, Abe Montague, Jack Cohn, Joe McConville, 
Abe Schneider, Rube Jackter, Sam Galanty, Sam Jaffe, Nat Cohn. i ■ 



July 7. 1934 

STRIKING. (Below) As Joan Crawford, MGM 
star, shows off a very small portion of her 
personal wardrobe. Would anyone be Inter- 
ested in knowing that this is of silk canvas, 
in a sheer fabric, in Lanvin blue, and with 
detachable sleeves? We thought not. 

CINEMAKING A CLASSIC. And Director Christy 
Cabanne gives final instructions to little Edith Fel- 
lowes, as Adele, and Virginia Bruce, as Jane, while 
Colin Clive, as Rochester, looks on, in Monogram's 
talking version of the famed literary classic by Char- 
lotte Bronte. A clothes contrast is apparent. 

QUIZZICAL. (Left) And appropriately so, 
since Warren William, of Warner, is thus por- 
traying the ace of suave detectives, Philo 
Vance, as in S. S. Van Dine's "The Dragon 
Murder Case," a forthcoming production. 

WORDS AND MUSIC. Jay Gorney, noted song GOVERNOR ENTERTAINED. At the MGM sales meeting in Chicago last 
writer, plays the latest for Don Hartman, lyricist; Sam week. Left to right: hloward Dietz, advertising, William F. Rodgers, West; 
Hellman, humorist. Reason: Fox's "Lottery Lover." Gov. Henry M. Horner, Illinois; Felix Feist, Ed. Saunders, Tom Conners. 



^ PLEASANTLY comprehensive report on the status of 
/m some aspects of the Motion Picture Research Council is 
/-w embodied in a letter which Dr. William H. Short, direc- 
^ M tor, creator and motivator of the Council, sent to its 

It will be noted that the director makes no reference in this letter 
to the resignation of Mrs. August Belmont from the presidency or 
any suggestion as to whom he will cast for that role, next. 

The best line of this letter is "a new constituency of more than 
1,250 choice people." ^'Choice people" are indeed the commodity of 
those who engineer movements. One is to be pleased, editorially, as 
well as informed strategically, by the project to "implement" their 
program. Dr. Short's well written letter is herewith presented. 


"Our Executive Committee spent several hours last Friday morning going over 
the present work and future plans of the Council in detail. Near the close of the 
meeting they adopted unanimously the following minute and directed me to call 
it to your attention. 

"That in view of the tremendous things already accomplished through the 
close and friendly cooperation which has characterized the members of the 
Council, and the urgent need which now exists for a modest sum of money to 
finance the work of the Council during the summer pending the financial campaign 
that is planned for the early autumn, the Executive Committee feels that members 
of the Board will consider it a privilege to join with them in making regular 
monthly contributions to the Council during the months of July, August and. 
September, and instructs the Director to extend an invitation to this effect. 

"They wish me to say that the membership campaign conducted during the 
spring has built up a new constituency of more than 1250 choice people chiefly 
in New York, Boston and Philadelphia; and that this creates an ideal situation for 
the ample financing that will be undertaken in the early autumn. 

"In the meantime the budget has been cut to $800 a month, our chief activity 
being two studies; one of the trade practices of the motion picture industry, the 
other of our practical program of action with the object of "implementing" the 
program adopted at the meeting of the Board on December 29, 1933. Both have 
been financed (by two members of our Board) and both are expected to be 
completed by the end of the summer. 

"During these months the only source of income for the regular budget is 
subscriptions from the members of the Board. The Committee wishes me to say 
that it confidently hopes for your assistance. 

"As an index to the attention which the Committee is giving to our affairs, 
you will be glad to know that every member was in attendance and that they 
recessed to meet again on Monday morning, July 9th, at 9 o'clock; by which 
time they hope they may hear favorably from you. The Committee consists of 
Messrs. Cabot, Finley, Arthur Butler Graham, Houston, Wood, Woodruff, Mrs. 
Miller and Mrs. William Barclay Parsons, Jr." 

Eastern Allied Units to 
Join New Jersey at Meet 

Allied of New Jersey will be joined by 
eastern Allied units at its annual conven- 
tion in Atlantic City, August 22-24, at the 
Ritz-Carlton Hotel. The convention com- 
mittee comprises : Julius Charnovir, Leon 
Rosenblatt, Harry Hecht, Dave Snaper and 
M. Gerofsky. With units from Albany, 
Baltimore, Boston, in attendance, about 300 
are expected. It is anticipated Sidney Sam- 
uelson will be reelected president. 

Tec-Art Hearing to 
Be Held July 1 0th 

Hearing on the trustee's report, petition 
for a final dividend and a petition for sale 
or abandonment of uncollected accounts of 
the Tec-Art Studios will be held July 10 
in Los Angeles by Referee Rupert B. Turn- 

The report shows receipts of $22,205, dis- 
bursements of $17,901 with a balance on 
hand of $4,303. Claims proved and allowed 
total $117,683. Additional claims are $683. 

Research Council Holds Con- 
ference at Washington to 
Present New Film Attack to 
National Education Group 

Given pause by the loss of their leader 
and president in the person of Mrs. August 
Belmont, and by problems of finance. Dr. 
William Harrison Short this week was rally- 
ing his forces of the Motion Picture Re- 
search Council to pursue the vast army of 
school teachers of the National Education 
Association, to win over their support of a 
brand new Research campaign to raise the 
moral standards of the screen. 

Dr. Short timed his new attack so that it 
appeared in the press close upon Mrs. Bel- 
mont's resignation. 

Council Calls Special Conference 

The Council hurriedly called a special 
conference at Washington over the week- 
end just prior to the opening of the educa- 
tional convention, and at press time word 
came from the conference chambers that Dr. 
Short and his colleagues were about ready 
to submit to the teachers an attack on the 
film and a plea for the support of a definite 
program of action by all the organizations 
now campaigning against the screen. 

The Council's executives and Dr. Short 
also evinced the conviction that the Darrow 
investigation and report of the motion pic- 
ture code was not sufficiently comprehensive. 
The Council will embark upon an investiga- 
tion of its own, in the course of which not 
only trade practices covered by the code will 
be studied, but also practices which it is de- 
clared are not even mentioned in the docu- 
ment, though having a far-reaching effect 
upon the industry and the public. 

Arthur Butler Graham in Charge 

The investigation will be conducted under 
the supervision of Arthur Butler Graham, 
motion picture attorney of New York. In 
charge of research work in this connection 
will be Dr. Wesley Mitchell, Dr. Ben D. 
Wood, Dr. Frederick M. Thrasher and Dr. 
Paul Cressey. 

As a third part of its drive for clean pic- 
tures, the Council will cooperate with the 
State Department in a world-wide survey of 
the efifect of motion pictures on American 
foreign trade and relations with other 
countries. A committee, consisting of Dr. 
W. W. Charters and Dr. Edgar Dale of the 
University of Ohio, and Dr. Herbert 
Blumer of the University of Chicago, has 
been appointed to draft a questionnaire to 
be sent to consular officers abroad. 

A number of resolutions were adopted by 
the conference, one of which expressed ap- 
preciation to Senator Royal S. Copeland of 
New York "for his recent speech criticizing 
the industry for not making use of the 
Payne Fund studies." 

The conference voted unanimously to 
seek "by every possible means" abolition of 
compulsory block booking and blind selling, 



July 7 , 1934 

Church Movement 
Extended in Field 
By Several Units 

The church movement against socalled 
"unclean" pictures continued to growr dur- 
ing the week, although activities in this con- 
nection were not as pronounced as in previ- 
ous weeks. 

At Albany, the convention of the Luth- 
eran Synod decided that "the pressure of 
public opinion exerted directly upon box- 
offices of motion picture theatres will give 
effect to our protest against indecent ex- 

Machinery for effecting a boycott of 
objectionable films shown in Massachusetts 
was set up at Boston by the Knights of 
Columbus. The state will be divided into 
three parts. Each K. of C. council will 
be assigned to work one or more parishes 
and the pastor of each parish will be asked 
to serve as honorary chairman of the parish 
committee. Members of each parish com- 
mittee will distribute to parishioners a 
printed form giving the information to be 

Possibility of extending the Catholics' 
"Legion of Decency" movement to some 
2,600,000 pupils enrolled in Catholic schools 
in 105 dioceses throughout the country was 
discussed this week in Chicago, where 
Archbishop John T. McNicholas, of Cin- 
cinnati, counselled with tlie members of the 
National Catholic Educational Association. 
They issued a call to parochial school heads 
to act on this matter under the leadership 
of their bishops. 

Archbishop McNicholas said, "We are 
assured by the producers that the appeal 
jury has been transferred from Hollywood 
to New York. There is promise in this." 
However, he advised church leaders to 
"continue aggressive action." 

Possibility that 80,000 additional Cath- 
olics will immediately join the "Legion of 
Decency" developed at Kansas City when 
Bishop Thomas Lillis issued a pastoral let- 
ter to parishioners in his diocese urging 
Legion of Decency pledges. He declared 
that the Catholics will continue their boy- 
cott until proof is furnished that decency 
has been completely restored. 

Dr. E. LeRoy Dakin, vice-president of 
the Milwaukee County Council of (Protes- 
tant) Churches announced that the Council 
had expressed itself as being "in hearty 
accord with the action against films taken 
by the Catholic brethren and by the Fed- 
eral Council of Churches and National Jew- 
ish Welfare Association." 

Some 12,000 Baptist ministers in the 
south were urged this week by their de- 
nominational leader to join actively in the 
movement against "pictures which are de- 
structive of home and religious beliefs." 

While the Independent Theatre Owners 
at Omaha was passing a resolution endors- 
ing the church film movement and urging 
the abolition of block booking as a solution, 
distributors and exhibitors in that terri- 
tory came to a stalemate with the Catholic 
Standards Committee in effecting a com- 
promise over the alleged action of the 
Standards Committee in banning pictures 
locally only after they had been screened 
at first runs. Charles Williams, president 


Pope Pius XI this week lent papal 
approval to the nationwide campaign 
of the Catholic Church in the United 
States against allegedly immoral mo- 
tion pictures. To Bishop Michael Gal- 
lagher of Detroit, His Holiness said 
he was "deeply gratified" at the 
various reports he had heard as to 
the campaign's conduct. 

At the same time. His Holiness de- 
clared it was difficult to believe that 
for a long time there had been such 
a thing as a depression or difficult con- 
ditions in the United States. 

The Pope this iveek bestowed on 
Cardinal Dougherty of Philadelphia a 
special apostolic blessing for his cam- 
paign against "indecent" films. 

of the MPTO of Nebraska and Iowa made 
an appeal that boycotting of certain pic- 
tures be called by a national Catholic com- 
mittee either before the films are released 
or locally before they play first runs. 

The boycott of unclean pictures in Phila- 
delphia is now complete, and as a result it 
was said that . Saturday morning children 
matinee business has dropped as much as 
80 per cent. 

The "Legion of Decency" movement may 
be extended to Canada. Miss Eva M. Dil- 
lon, publicity head for the Catholic Women's 
League of Canada this week urged a na- 
tionwide reform move in Canada. 

Talley, Stallings Meet 
Fox Reel Men in Europe 

With the arrival in Paris of Truman H. 
Talley, general manager, and Laurence 
Stallings, editor of Fox Movietone News, 
a general meeting was called this week at 
which the European staffs of the reel were 
to discuss plans for the reorganized news- 
reel, to begin operation in the fall. It is 
understood arrangements have been virtually 
completed for coverage in Soviet Russia. 

At the meeting, and heading delegations 
from their own territories, were the follow- 
ing executives : Gerald Sanger, editor of 
British Movietone News, Great Britain ; 
Russell Muth, Central Europe; Ettore Vil- 
lani. Southern Europe and the Near East ; 
Hans Pebal, other European countries ; Ben 
Miggins, European director, and his staff. 
Another meeting shortly will include edi- 
torial and camera crews covering Asia, 
Africa and South America. Mr. Talley 
plans an increase of the number of offices 
in Central and South America. 

Direct Action Called Aim 

Motion picture producers are going too 
far when they say that what is being shown 
today on the screen is demanded by the 
public. Father Youngblood told a forum on 
"current evils" in Houston, Tex., this week. 

Harry Spingold Dies 

Harry Spingold of the radio department of 
the William Morris agency, died from a 
heart attack this week while on the train to 
New York from Chicago. 

$25,000 Fine If 
Producers Do Not 
Adhere To Code 

While producers in Hollywood were busy 
during the week "laundering" scripts and 
some sequences in completed negatives, it 
was learned confidentially that Hays mem- 
ber distributors will be subject to a fine 
of $25,000 for releasing any picture that 
violates the production code or for releas- 
ing a film in which ordered changes, cor- 
rections or modifications have not been 
rnade after the production code administra- 
tion has so decreed. 

This decision was made in order to in- 
sure strict adherence to the new form of 
administering the production code in keep- 
ing with the demands of the churches for 
cleaner films. 

Any fines collected will be used for code 
administration, it was said, with the possi- 
bility that such fines will be used to em- 
ploy scenario editors who would scan scripts 
before producti on with the view of making 
eliminations and showing producers how 
objectionable sequences can be rewritten. 

However, none of Hollywood's produc- 
tion leaders would acknowledge the ex- 
istence of any such plan. 

Meanwhile, B. B. Kahane, president of 
Radio Pictures, issued instructions to the 
studio's producers to forthwith eliminate 
offensive screen material. He admitted that 
a few of RKO's pictures were among those 
which have been criticised by the church 
groups. Mr. Kahane urged the producers 
to observe the letter and spirit of the pro- 
duction code "in good faith." 

Harry M. Warner, president of Warner 
Brothers, said this week while en route to 
Hollywood that the present objections 
against pictures are coming from five per 
cent of the public. "This group," he said, 
"is a small but militant minority." 

Mr. Warner declared that, "If this minor- 
ity is sincere and broadminded and wants 
to cooperate with company heads, the prob- 
lem can be solved, but if its motives are 
selfish and ulterior and designed to destroy 
the theatre because it competes with the 
church for the public's attention, then the 
crusade will fail." The industry's produc- 
tion plant is geared to produce any sort of 
entertainment called for, he added. 

Former Censor Approves Pledge 

Maude Murray Miller, for eight years a 
member of the Ohio Censor Board, last week 
publicly approved the action of Bishop J. 
J. Hartley ordering all priests under his 
jurisdiction to have pledges signed by mem- 
bers of their congregations not to attend the- 
atres where indecent pictures are shown. 

Proposes Producer Blacklist 

Blacklisting producers and directors of 
undesirable pictures, in preference to censor- 
ship, was the solution advanced by Law- 
rence Grant, of the Academy of Motion Pic- 
ture Arts and Sciences, in Cincinnati last 
week, declaring that "the greater danger of 
picture houses is that any type of pictures 
can be shown in any type of house." 




On The 1934-1935 
Box-Office Line-Up 




Presented by 






It epic of the American Theatre ! . . . 
A glamorous glorification of the glori- 
fier of American beauty! The intimate 
life story of the man who contributed 
to the modern age a new world of en- 
tertainment; of beauty, music, gayety, 
drama — and who introduced to the 
world the greatest succession of star 
personalities it had ever known! Top- 
ping Ziegfeld at his best, the picture 
promises to become to the screen 
what the "daddy of 'em all" was to^ 
the theatre! 


and one other 



V^ne much-talked about novel 
byTHORNE SMITH offers the most 
unique picture idea in years!.. .Aman 
who finds the formula for changing 
people into stone meets a woman 
possessed of the power to bring 
statues back to life! . . . They face 
New York accompanied by Bac- 
chus, Neptune, Venus, Mercury, 
Diana and the rest — in modern 
dress and just a' rarin to taste the 
high life, love and laughter of 
1934 . . . They roam the town, 
with rip-roarin' ruin in their wake. 

in Only 

"Little Man, 
What Now?"- 




Franz Moinar's Famous Stage Play 


Margaret Ayer Barnes' Current Best Seller 

AT LAST the talking screen will have its real 
i epic of the gold rush days of the West!..» 
But first of all, this is a human story— the story 
based on the colorful life of a courageous 
pioneer whose discoveries founded a great 
American Empire and who, although he brought 
fortune and happiness to millions, died a 
forgotten mani Tremendous in sweep, gigantic 
in scope, blazing with action— yet basically the 
drama of human souls! 

BIG! - - BIG! - - BIG! 

From the Famous 
Novel by 



(Now in its 35th edition) 

Ob session 

cud the New York Times of 
this great novel: ''The fault 
with many a modern novel is 
that nothing happens in it. It 
is one merit of Magnificent Ob- 
session that IT REALLY HAS A 
PLOT! Incident follows incident 
with impelling force, love, 
finance, accident, injury and 
death all play their part in de- 
picting a character controlled 
by a great ideal''. . . Show- 
men, the book is excellent, but 
the picture will beat it! 


greatest novel —The American peo- 
ple's favorite romance -reborn on 
the screen with such a glittering 
array of stars, such prodigal pro- 
duction, such rich exploitation tie- 
ups, as to stagger the imagination! 
...Loaded to the gunwhales with 
its precious wealth of unforgettable 
Jerome Kern music and songs, 
Show Boat is coming to port with 
a cargo of gold for YOU ! . . .WATCH 




nv of the surest-fire "money" direc- 
tors in this business is John M. Stahl, 
the man who gave you in the past such 
pictures as "Seed/' "Back Street," and 
"Only Yesterday." The picture Univer- 
sal has in mind for John Stahl is a story 
that v\^ill top all his previous efforts. The 
title cannot be announced as yet be- 
cause negotiations are not fully com- 
pleted. Watch the trade papers for the 
big news on the next John M. Stahl 

;/of the ruins of shattered box-office 
records rises the Frankenstein monster — 
to claim himself a bride, and to work 
further havoc with record theatre gros- 
ses! . . . Can you imagine the advertis- 
ing you can do on this one? The mere 
thought of the monster seeking a bride 
makes a showman's fmgers fairly itch 
to write the flaming lines that will pack 
any theatre in the world. Add the bride 
idea to all you've had before, and you've 
got a "tremendousity" of appeal — and 
in plain English, THAT'S PLENTY! 

^ A 



July 7, 1934 


26 Two-Reel Short Subjects 
and Eight Series of Single- 
Reel Product Will Be Released 
During the 1934-35 Season 

Columbia Pictures Corporation, the last 
of the larger distributors to assemble for 
annual sales meetings, swung into conven- 
tion in Atlantic City Monday and announced 
a schedule of 48 feature pictures, 26 two- 
reel short subjects and eight series of single 
reel subjects for the 1934-35 season. 

More than 150 district managers, branch 
managers and salesmen representing 16 ter- 
ritories in Canada and the eastern part of 
the United States attended the convention, 
the first of two regional meetings, the 
second of which will be held July 9 in 

Jack Cohn, vice-president in charge of 
distribution, outlined the 1934-35 program, 
armounced 32 titles and told of a greatly 
expanded budget. Speeches were made also 
by Abe Montague, general sales manager ; 
Abe Schneider, treasurer, and William 
Jaffe of the legal department. 

Asserting that the motion picture industry 
is "more sinned against than sinning," Jack 
Cohn on Monday said that the "violent 
burst" of condemnation now current on the 
part of the churches of the country is di- 
rected against something greater and some- 
thing far more important and all-embracing 
than the motion picture. 

"The storm has mistakenly been shifted 
to the latter because the motion picture re- 
flects the thing against which the crusaders 
inveigh — the tendencies of the times," Mr. 
Cohn said. 

Calls Film Mirror of Times 

"They have directed their ire against the 
mirror, instead of against the thing or con- 
dition reflected in the mirror. 

"Sophistication is the one word that de- 
scribes the fault universally charged against 
films. We are living in an era of sophistica- 
tion and reflected in the conduct of city 
dwellers from coast to coast and reflected 
in the newspapers they read, and in Ameri- 
can literature as a whole. To the extent that 
the motion picture holds the mirror up to 
Nature it reflects the same sophistication, 
against which many of us inveigh in vain." 

Listed among star and personality pic- 
tures are two Frank Capra productions ; 
one Grace Moore production; one Claudette 
Colbert production; one for Edward G. 
Robinson ; four starring Jack Holt, one 
with Edmund Lowe ; one starring Boris 
Karloff and one feature starring Gene Ray- 

Because of the ever-mounting increase 
in cost of production, due not only to public 
demand for finely produced stories of pop- 
ular plays, books, and short stories, but 
due equally to the operation of the NRA 
principles throughout the organization, 
Columbia during the new season must be 
in a position to acquire more of exhibitors' 
preferred playing time, Mr. Cohn pointed 

Titles of the 1934-35 program as an- 
nounced are : 

Broadway Bill, a Frank Capra production, 
with Warner Baxter and Myrna Loy. 

Another Frank Capra production, as yet 

One Night or Love, with Grace Moore, 
noted opera star. 

Feather in Her Hat, by L A. R. Wylie, 
one of the current season's best sellers. 

An Edward G. Robinson production, to be 
produced by Howard Hawks, as yet untitled. 

Party Wire, a best seller by Bruce Man- 

A Claudette Colbert production, untitled. 

Maid of Honor, from the best seller and 
Cosmopolitan Magazine story by Katharine 

Carnival, a dramatic romance by Robert 

The Girl Friend, a musical extravaganza 
by Herbert Fields, Richard Rodgers and Lo- 
renz Hart. 

One Jack Holt-Edmund Lowe production, 

Lady Beware, a comedy drama. 

Black Room Mystery, a thriller starring 
Boris Karloff. 

Sure Fire, starring Gene Raymond and Ann 

Mills of the Gods, a drama by Melville 
Baker and Jack Kirkland, presenting a cross 
section of industrial America today. 

Depths Below, starring Jack Holt in a 
romantic melodrama. 

Two Additional Jack Holt productions. 

Breakfast For Two, a farce. 

Eight Bells, a drama of the sea. 

Once A Gentleman, from the story by 
Bradley King. 

That's Gratitude, from the stage comedy 
success by Frank Craven. 

Spring 3100, a melodrama. 

Man Proof, comedy drama. 

Murder Island, a thriller from the pen of 
Leland Jamieson. 

Mistaken Identity, drama. 

White Lies, romantic drama. 

Lady of New York, drama. 

Private Property, drama. 

Unknown Woman, drama thriller. 

$25 An Hour, Gladys Unger and Leyla 
Georgi's romantic stage comedy. 

I Confess, drama. 

In addition to these listed, there will be eight 
Tim McCoy outdoor action dramas and eight 
additional feature dramas. 

The Short Product 

To supplement its features, Columbia will 
offer a diversified line-up of single and two- 
reel short subjects. Of the two-reelers there 
will be 26, as yet untitled, featuring an aggrega- 
tion of comedians, including Harry Langdon, 
Leon Errol, Andy Clyde, Walter Catlett and 

The eight single reel series will include the 
"Color Rhapsodies," produced by Charles Mintz ; 
"Krazy Kat Kartoons," also produced by 
Charles Mintz ; "Scrappy" cartoons, another 
Mintz production ; "Laughing With Medbury," 
produced by Walter Futter with John P. Med- 
bury dialogue ; "Life's Last Laughs," produced 
by C. S. Clancy ; "Spice of Life," produced by 
Mentone ; "World of Sport," and "Screen Snap- 
shots," in which Harriet Parsons reveals inti- 
mate scenes of the stars at work and play. 

Among the screen and stage stars, directors 

Star and Personality Pictures 
Emphasized; Jack Cohn Cites 
Mounting Production Costs at 
Atlantic City Regional Meet 

and writers who will work under the Columbia 
banner next season are : 

Claudette Colbert Jean Arthur 

Edward G. Robinson Ralph Bellamy 

Warner Baxter Florence Rice 

John Gilbert Raymond Walburn 

Boris Karloff Mona Barrie 

Grace Moore Jessie Ralph 

Jack Holt Shirley Grey 

Edmund Lowe John Buckler 

Nancy Carroll Charles Sabin 

Gene Raymond Inez Courtney 

Myrna Loy George Murphy 

Fay Wray Fred Keating 

Jack Haley Robert Allen 

Lupe Velez Lynn Overman 

Ann Sothern Clarence Muse 

Walter Connolly James Blakely 

Tim McCoy Billie Seward 

Peter Lorre Luis Alberni 

Leon Errol El Brendel 

Harry Langdon Arthur Rankin 

Andy Clyde Geneva Mitchell 

Walter Catlett Patricia Caron 

Richard Cromwell Allyn Drake 

John Mack Brown Richard Heming 

Tullio Carminati Barbara Read 

Arthur Hohl Jerry Howard 

Lyle Talbot Larry Fine 

Donald Cook Moe Howard 

Among the directors and producers are : 

Frank Capra D. Ross Lederman 

Howard Hawks Albert Rogell 

Victor Schertzinger William Rowland 

Russell Mack Robert North 

Lambert Hillyer Jules White 

David Burton Irving Briskin 

Roy William Neil Felix Young 

Leo Bulgakov Everett Riskin 

Among the authors whose works will form 
part of the company's offerings are : 

I. A. R. Wylie Jack Kirkland 

Katharine Brush Melville Baker 

Herbert Fields Ralph Murphy 

Richard Rodgers Dorothy Speare 

Lorenz Hart Charles Beahan 

Frank Craven Gladys Unger 

Bradley King Leyla Georgi 

Mark Hellinger Leland Jamieson 

Percy G. Mandley Diane Bourbon 

Argyll Campbell Harry B. Smith 

Bruce Manning Leonard Spigelgass 

The scenario staff includes : 

Robert Riskin 
Jo Swerling 
Herbert Asbury 
Vera Caspary 
S. K. Lauren 
Lawrence Hazard 
Edmund North 
James Gow 
Austin Parker 
Roland PertAvee 

Ethel Hill 
Harold Shumate 
John Wexley 
Judith Kandel 
Harvey Gates 
Ray Schrock 
Sidney Buchman 
Fred Niblo, Jr. 
Dorothy Howell 
M. Coates Webster 

In addition to those already named, the home 
office delegation was as follows : Nate Spingold, 
George Brown, director of advertising, publicity 
and exploitation ; Rube Jackter, Jos. A. McCon- 
ville, Hal Hode, Lou Weinberg, Henri Brunet, 
J. Barbano, Louis Astor, Hank Kaufman, Al 
Seligman, Sam Liggett, Milton Hannock, Lou 
Goldberg, Ben Atwell, J. W. MacFarland, 
Arnold Van Leer, Sam Hacker, Chas. Roberts, 
Mort Wormser, Bill Brennan, John Kane, Milt 
Goodman and Maurice Grad, several of whom 
were to address the gathering. 

July 7, 1934 




Charges Grievance Units Are 
Directing Boycott Against 
Independent Exhibitors; De- 
clares Monopoly in Saddle 

Immediate dismissal of the motion picture 
Code Authority and creation of a new body 
"that can conceive something of the rights of 
the public and has some other impulse than 
the extraction of fat profits" is recom- 
mended by Clarence Darrow's National Re- 
covery Review Board in its third report to 
the President. 

Unless President Roosevelt changes his 
mind and reconvenes the board to consider 
the approximately 150 codes against which 
complaints have been received and on which 
no action has been taken, the report consti- 
tutes the final gasp of the board headed by 
Clarence Darrow and created by the Presi- 
dent last March to investigate complaints 
that codes were working to the benefit of 
monopoly and adversely to small enterprises. 

Darrow Resigns 

With the submission of the final report, Chair- 
man Darrow followed the example of John F. 
Sinclair and W. O. Thompson and resigned, 
leaving only W. W. Neal, Fred P. Mann and 
Samuel P. Henry. Those members of the board 
have "recessed" until July 10 and returned to 
their homes, and will not come back to Wash- 
ington unless asked to do so by the President. 
The board goes out of existence next week. 

Taking a final fling at the National Re- 
covery Administration, the board in its 
report declared that "it may safely be 
said that not in many years have monopo- 
listic tendencies in industry been so for- 
warded and strengthened as they have 
been through the perversion of an act ex- 
cellently intended to restore prosperity 
and promote the public welfare." 

The present method of setting up code 
authorities is declared sadly defective and the 
cost of administration, in majiy cases, expensive 
and sometimes heavily burdensome to small 
business organizations. 

Administration members should be selected 
"with an eye single to their fitness and qualifi- 
cations for the duties to be assumed," it is as- 
serted, and their presence on the authorities is 
useless unless they are entitled to vote upon all 

Blames Block Booking 

Recommending dismissal of the Code Author- 
ity, the board points out that nothing has been 
done with respect to the recommendations in its 
original report, and lays at the door of the 
producers the blame for the religious campaign 
recently inaugurated against pictures and ex- 
hibitors, at the same time condemning the Gov- 
ernment for failing to remedy evils in the in- 
dustry before "manifestations of popular revolt" 

"In the first report," it was pointed out, 
"this board described the lawless and outrageous 
excesses of the monopoly in this industry and 
demanded that something be done to protect 
the small enterprise, exposed to the insatiable 
rapacity of the powerful. 

"Any notion that the Government or any 
governmental agency supports, sanctions or tol- 
erates these practices would be be most unfor- 

tunate. But we are compelled to note that the 
evils in and resulting from the evil practice of 
block booking have resulted in curious manifes- 
tations of popular revolt." 

Charging that the code sanctions practices 
which have been barred by the courts, the re- 
port declared that one of the results of the exac- 
tions of the large producers has been the insti- 
tution of a "nation-wide boycott" directed 
against objectionable pictures, thus turning upon 
the industry a weapon which it itself had de- 
vised to keep recalcitrant exhibitors under con- 

Text of Report 

The report of the board with respect to the 
film code follows : 

"The board feels called upon to advert again 
to the so-called code of fair competition for 
the motion pictures industry and renew its 
recommendations in reference thereto. 

"Our former report on this code demon- 
strated not only its monopolistic and oppressive 
character but also indicated that in its negotia- 
tions and writings by the deputy administrator 
complete frankness and impartiality were lack- 

"The board made definite findings that the 
code was not warranted by and was contrary to 
the provisions of the national industrial recovery 
act inasmuch as it authorized practices which 
have been specifically condemned by the courts 
of this land as monopolistic and oppressive. 

Charges Restraint at Hearings 

"Numerous instances have come to the atten- 
tion of this board where practices have arisen 
or are continued under the operation of the so- 
called code of fair competition although these 
practices have been determined to be monop- 
olistic and oppressive by decisions of the United 
States supreme court and other courts of the 
land. In addition, cases have been noted where 
parties have been restrained at hearings held 
before the National Recovery Administration 
from citing these decisions. 

"Thus, pursuant to the authority granted 
them in the motion picture code, the producer- 
dominated grievance boards are directing a boy- 
cott against independent exhibitors who deviate 
from the admission prices established by the 
producers. The result of this boycott is to force 
the exhibitors to comply with price regulations 
of the producers or close their theatres for lack 
of pictures. So we have the producers resorting 
to a boycott which has been judicially estab- 
lished to be illegal and monopolistic. (Para- 
mount V US 282 US 30 and US v First Na- 
tional, 282 US 44.) 

"The first instance of the disregard of 
the court decisions by the operation of 
the motion picture code is presented by 
the actions of the subservient clearance 
and zoning boards in formulating clear- 
ance and zoning schedules in various cities 
which put the low admission independent 
theatres so far behind the producer-owned 
theatres that they will not be able to sup- 
ply their patrons with pictures of current 
interest and will lose them to the producer- 
owned houses. This device was attempted 
before the code but was halted by the 
decision in Youngclaus v. Omaha Film 
Board of Trade, et al. 

"Heretofore the Big Eight producers have 
made little use of the extraordinary powers 
conferred upon them under the motion picture 
code. This apparent leniency, however, is 

Blames Block Booking for At- 
tack of Churches on Theatre 
Attendance in Fight Against 
Salacious Motion Pictures 

readily explainable. They have been afraid to 
exercise their powers in the face of the public 
attack upon the code contained in the board's 
report. The failure of the National Recovery 
Administration to carry out the suggestions of 
this board encouraged the Big Eight to try out 
their new powers upon their helpless rivals. 

Says NRA Sanctions Boycotts 

"More important from the standpoint of the 
public at large are the evil consequences result- 
ing from the failure to act on the recommenda- 
tion of this board that steps be taken to correct 
the practice known as compulsory block book- 
ing. The abolition of that practice is necessary 
to give the exhibitors and their patrons a right 
of selection as to the pictures to be shown in 
the theatres. As matters stand under the code, 
the power of the producers to compel the ex- 
hibitors to buy and show all of their pictures — 
the good with the bad — and to designate the 
days of the week upon which particular pictures 
shall be shown has the sanction of National Re- 
covery Administration approval. 

"Millions of outraged citizens, finding that 
the code affords no means of escaping the 
forced showing of pictures, have joined under 
the leadership of various religious bodies in 
putting into effect a nation-wide boycott directed 
against objectionable pictures. Thus, boycotting, 
sanctioned throughout the National Recovery 
Administration activities, becomes a national 
institution and is now employed by the public 
at large to compel the reforms which the Na- 
tional Recovery Administration has refused to 
effect. This boycott might have been avoided 
through the adoption of the recommendations 
of this board. In ignoring the suggestions of 
this board, the National Recovery Administra- 
tion has forced the public to an expedient which, 
although effective, will surely result in grave 
hardships for the independent exhibitors who 
are in no way the cause of the evil sought to b? 
remedied. The only way to prevent this injus- 
tice and attain the result which the entire nation 
is seeking by this boycott is to adopt the 
changes advised by this board in its original 
report on the motion picture code." 

Code Boards Hear 
812 Cases in Field 

The Code Authority in New York this 
week mailed to Local Board secretaries in 
the field some 5,000 blanks upon which ex- 
hibitors who have not yet executed a code 
acceptance are again given the opportunity to 
sign, with the new deadline set at August 
15. Other code developments during the 
week included a report by the Authority on 
the activities to date of the 31 Local Griev- 
ance and Clearance Boards, with which 
some 812 complaints under the code have 
been filed by exhibitors or exchanges. Of 
this total, 600 complaints have already been 
disposed of, and 94 were appealed to the 
Code Authority. 

From Washington came word that all ma- 
terial asked of producers by the NRA in the 

{.Continued on following page) 



July 7, 1934 


questionnaires pertaining to salaries in the in- 
dustry had been received and work was prog- 
ressing in completing a compilation of motion 
picture earnings. 

The Code Authority this week was instructed 
by the NRA to assume supervision of the dis- 
tribution of the new Blue Eagle insignia 
within the industry. The order gave the 
Authority the right to recall the Blue Eagle 
upon violation. Assentees who have paid their 
code expense bill are entitled to the insignia. 

Appoint First Appeals Group 

Gradwell Sears, Warner sales executive ; 
Harry Shiffman, independent New York ex- 
hibitor, Major Leslie Thompson, of RKO, are 
the members of the first Code Authority com- 
mittee on appeals, under the plan recently 
adopted calling for the appointment of 10 ro- 
ta,ting committees to assist the Authority in 
disposing of appeals from local board decisions. 
The committees will not make final decisions, 
merely hearing the appeals and recommending 
action to the Authority. 

Joe Engel, who succeeded Mike Landow as 
Universal manager in Philadelphia, was ap- 
pointed last week to Mr. Landow's post on the 
Local Grievance Board. 

The extent of the actual operations of the 
code machinery in the field were outlined to 
the industry this week by the Code Authority, 
which announced that the 31 Local Grievance 
Boards have to date held a total of 144 meet- 
ings, heard 289 complaints, still have 63 com- 
plaints to be heard and certified 16 complaints 
to the Code Authority in connection with ap- 
peals. Out of the total complaints filed, 57 de- 
cisions have been appealed to the Code Author- 
ity. The compilation which follows gives a 
cross-section of Local Grievance Board activi- 
ties to date : 







s e 

S M 

O e3 

•a . 


° 5 



. OS 







































































Des Moines ... 













Indianapolis . . . 







Kansas City .. 







Los Angeles . . 













Milwaukee .... 







Minneapolis ... 







New Haven . . . 







New Orleans... 













Oklahoma City. 













Philadelphia . . . 







Pittsburgh , . , 




















Salt Lake 







San Francisco.. 














Wash., D. C... 












The 31 Local Clearance and Zoning Boards 
to date have held 146 meetings, and have re- 
ceived 460 protests against schedules, of which 
310 have already been decided. Thirty-seven 
decisions have been appealed to the Code Au- 
thority, while ISO protests remain to be heard. 

A combined total of 94 appeals have been filed 
with the Code Authority on decisions of both 
groups of local boards. The Authority has 


At the Synithsonian Institute, in 
'Washington, D. C, a motion picture 
camera is daily trained on the fingers 
of an elderly Indian, who, with pains- 
taking care, is assistitig in the mak- 
ing of a pictorial record of the Indian 
sign language, a manner of communi- 
cation once used over the greater part 
of the North Arnerican continent, to- 
day understood by a mere handful of 

The Indian is Chief Bull, of the 
Montana Blackfeet, whose name is 
Richard Sanderville. He was sum- 
moned to Washington to carry on the 
ambitious work begtm by the late 
Major General Hugh L. Scott, famous 
Indian fighter, who probably knew 
more about the American Indian than 
any other white man in the country. 

passed final determination on 19 out of 39 ap- 
peals already heard. 

A recapitulation of the Clearance Board ac- 
tivities follows : 


€_ M 


1 No. 




CS % 

No. 1 


to be 
































































Des Moines . . . 













Indianapolis . . . 







Kansas City . . . 







Los Angeles... 













Milwaukee . . . . 







Minneapolis ... 






New Haven ... 







New Orleans . . 







New York 







Oklahoma City. 













Philadelphia . . . 

































San Francisco.. 














Wash., D. C... 












(x) Protests 




of schedule 



(y) Completed 

and pu 


schedule for 




Announcement was made this week by the 
Code Authority of final determination of six 
appeals which had been taken on local board 
decisions. In the case of L. C. Sipe, Criterion 
theatre, Anderson, S. C, against Strand theatre, 
Anderson, S. C, the Authority sustained the 
appeal of the defendant in a case involving 

In the case of J. M. Anderson, Princess the- 
atre, Boone, Iowa, versus the Central States 
Theatre Corporation's Rialto, at Boone, the 
Authority affirmed the determination of the 
Des Moines Grievance Board in dismissing the 

complaint filed under Article VI, Part 2, Sec- 
tion 1 of the code. 

The third case disposed of was Louis Lin- 
ker's Criterion, Bridgeton, N. J., against At- 
lantic Theatres' Stanley at Bridgeton, involving 
overbuying, the Code Authority deciding that 
the determination of the Philadelphia Grievance 
Board shall be modified so as to include the 
finding that the respondent has not adopted an 
unfairly competing operating policy of unneces- 
sary and too frequent changes, to include in 
place of the direction made by the Philadelphia 
board the direction that the respondent forth- 
with make its selection under its selective con- 
tracts with distributors of the minimum number 
of motion pictures which it is obliged to play 
under such license agreements, and thereby re- 
lease the remainder to the complainant for nego- 

The Code Authority ruled in the case of 
MGM against L. L. Drake's Ansonia theatre, 
Wadesboro, N. C, that the certified complaint 
filed by the local board shall be dismissed. 

In the case of Anderson Theatre Circuit's 
Egyptian theatre, at DeKalb, 111., against 
United Artists, the Authority dismissed the 
complaint and referred it back to the Chicago 
Grievance Board. The case involved the point 
of whether the complainant contracted to ex- 
hibit all of the pictures that were offered by the 

The complaint of United Artists against A. 
L. Adams, Palace theatre, Silverton, Ore., was 

In Chicago, Screeno, a lottery which had be- 
come popular at a number of theatres in the 
sector, was ruled a violation of the code pro- 
vision pertaining to the practice. Several cases 
of premature advertising were disposed of with 
all defendants pleading guilty. 

An overbuying complaint brought by the Pike- 
ville Amusement Co., Pikeville, Ky., was held 
up owing to the fact that the defendant in the 
case was not present at the hearing. 

New clearance schedules to be set up in the 
Kansas City territory will supersede protection 
terms written into franchise agreements, new 
schedules taking precedence over this year's 
franchise. The new schedule provides that any 
independent not having a specified regular ad- 
mission shall be classed five cents lower. Passes 
handed out on a Will Rogers picture to the 
stockyards must stop, the Kansas City griev- 
ance board ruled last week. The Kansas City 
price war has resulted in numerous complaints 
piling up on the grievance board charging ex- 
hibitors with reduced admission, playing pic- 
tures ahead of the spot at prices below contract 
stipulations and jumping clearance in double 

In Milwaukee many independent exhibitors 
took exception to many clauses in the proposed 
clearance and zoning schedules and declared 
they would not adhere to it in its present form. 

The Minneapolis grievance board has banned 
the issuance of script books or coupons, on the 
ground that the practice tends to lower admis- 
sions and was unfair competition in many in- 

In New York, David T. Willentz, attorney 
general for New Jersey, and representing Al- 
lied of New Jersey on code matters, lost his 
first case before the clearance and zoning board 
His client, the Ellwood, Newark, N. J., had pro- 
tested the 14 days' clearance the Warner Re- 
gent and Capitol, Belleville, have over it. 

At the last session of the Washington, D C 
clearance board, J. Louis Rome, operator of the 
Gwynn, Baltimore, lost his plea that he be 
placed in a zone separate from Frank Durkee's 
Forest. His purpose was to be free of the 14 
days' clearance now enjoyed by the Durkee 

July 7 , 1934 




Four Oriental Pictures Are In 
Production at One Time; Four 
Films Start y Three Completed 


Hollywood Correspondent 

Wallace Beeky flew into New York from 
the Coast for a brief vacation. 

Nellie Taylor Ross, director of the United 
States Mint, was in New York last week to 
make the Tower Magazine awards for out- 
standing screen merit. 

Carl P. York, general manager of the Scandi- 
navian territories for Paramount, and M. J. 
Messeri, managing director of the Spanish 
division for the company, arrived in New- 
York from Hollywood. 

Raoul Walsh, Fox director, is in New York. 

Edmund Burke, screen writer, returned to 
Hollywood from New York. 

Julius S. Fisher, publicity director for Amal- 
gamated Theatres, Ltd., Singapore, sailed 
after a New York vacation. 

MoRT Blumenstock, Warner advertising ex- 
ecutive, is on a business trip through Penn- 
sylvania, Ohio and New Jersey. 

Genevie:ve Tobin arrived in New York from 

Charles L. O'Reilly left New York for 

Irving Mandel of Chicago is in New York. 
Truman H. Talley and Laurence Stallings, 

Fox Movietone News executives, sailed for 


Sam Dembow, Jr., vice-president of Paramount 

Theatres Service Corp., arrived in New York 

from Hollywood. 
Robert Florey, Warner director, returned to 

Hollywood from a three-month trip into the 

interior of China. 
Charles Einfeld, Harold S. B.'^reford and 

Carl Lesserman returned to the Warner 

home office from Hollywood. 
William Melniker, MGM representative in 

South America, is in Hollywood. 
Walter Futter is in New York from England. 
Clint Weyer spent a day in Philadelphia last 


Lou Metzger arrived on the Coast from New 

Joe Penner left for the Coast to start work in 

Paramount's "College Rhythm." 
Jack Bachman left New York for Hollywood. 

RCA Sues Kentucky Firm 
For Royalties Alleged Due 

Briefs have been asked by the federal 
court, Louisville, Ky., in the case of the 
Radio Corporation of America against the 
Ken-Rad Corporation, Owensboro, Ky. 
RCA is asking $55,000 allegedly due on 
royalties. The litigation involves royalties 
claimed due from sales of radio tubes to 
companies which held licenses from the 
patent holders. The Ken-Rad Company 
claims that because of the fact of sales to 
license holders, it was not obliged to pay 
royalties. It was brought out that the 
Owensboro firm paid all other royalties. 
The case of RCA against Arcturus Radio 
Tube Company was cited by the court as 
involving the same issues. 

Bernard Bimberg Dead 

Bernard K. Bimberg, for years a New 
York theatre builder, died late last week. 
He was president of the Benkay Amusement 
Company, the Bim-Green Catering Com- 
pany and the Schuyler Amusement Com- 

Amity Closes Deal 

John M. Crinnion, executive vice-presi- 
dent of Amity Pictures, has closed a deal 
for distribution of the entire company 
product with Charles H. Tarbox, of the 
F. C. Pictures Corporation, Buffalo. 

HOLLYWOOD is going Chinese. For 
no reason at all, except perhaps that 
China happens to be an international 
■'hot spot" at the moment, fourteen Oriental 
pictures are now in production. 

Included in current cycle of pictures with 
an Oriental background are : 

Metro-Goldwyn-Mayer : "The Painted 
Veil," "Indo-China," "China Seas," "Good 

Warner Bros.: "Farewell to Shanghai," 
"Oil for the Lamps of China," "War Lord," 
"Skipper of Ispahan." 

Paramount: "Sacrifice." 

Radio: "Ho for Shanghai." 

Fox : Three Charlie Chan pictures. 

Clyde Elliott will take a technical crew to 
China for an Oriental picture titled "Yellow 


Four Productions Start 

Only four new pictures were started in 
the past week. Three were completed. Of 
the new productions, Universal has two and 
Radio and Columbia one each. Radio, 
MGM and Reliance each contribute one to 
the trio finished. 

At Universal, "Imitation of Life," in 
which Claudette Colbert is starred, was 
placed in work, also "Gift of Gab," which 
teams Edmund Lowe, Gloria Stewart and 
Alice White. 

Columbia started "Among the Missing," 
in which important parts have been assigned 
to Richard Cromwell, Billie Seward, Arthur 
Hohl and Henrietta Grossman. 

Radio's new feature is "The Gay Divorce," 
which numbers Fred Astaire, Ginger 
Rogers, Alice Brady and Edward Everett 

Radio's completed picture is "A Hat, a 
Coat, a Glove," a mystery drama, featuring 
Ricardo Cortez, Barbara Robbins and John 

The completed MGM production, "All 
Good Americans," a story of topical modern 
life, lists Robert Young, Una Merkel, Madge 
Evans, Otto Kruger and Ted Healy in the 

Most important of the newly completed 
pictures is "The Count of Monte Cristo," 
Reliance Production (United Artists re- 
lease). The picturization of the Dumas 
classic has Robert Donat and Elissa Land! 
at the head of a large cast. 


Believing the title "It Ain't No Sin" may 
invite criticism at this time, Paramount had 
decided to give the ■forthcoming Mae 
West picture the handle of "That Saint 
Louis Woman," but found out the title 
had been used by Screencraft. They are 

now considering "West Is West." 

* * * 

As the result of preview reception of 
"One Night of Love," Columbia has exer- 
cised its option on Grace Moore and is re- 
taining her on a term contract which calls 
for three pictures a year. 

Universal again has signed a deal for the 
release of six Thalian two reelers, which 
will be made this year by Jack Townley 
Productions, Inc. Subjects will be made ex- 
clusively with Thalian members in the cast. 

Certain loaders, including Ken Goldsmith 
and Sam Wolf, of the Independent Motion 
Picture Producers Association called a meet- 
ing of that organization's members last 
week to map out a feasible plan whereby a 
nationwide campaign might be carried out 
to sustain double featuring. The meeting 
resulted in no definite decision, but one 
thing was made clear, that where money 
is necessary to conduct such a campaign 
the members are not in sympathy with the 
plan. It is being held in abeyance. 

Little Progress In 
Fox Theatre Deal 

Slight progress was made last week at a 
meeting in New York between representa- 
tives of Loew's, Inc., and Warner with a 
sub-committee of the Fox Metropolitan 
bondholders' committee in respect to the 
$4,000,000 of¥er made by Loew and Warner 
as purchase price for the 87 Fox Metro- 
politan houses. Indications were, as a re- 
sult, that another postponement of the fed- 
eral court hearing on the offer would be 
sought late this week. 

Spokesmen for the bidders last week re- 
ported that the situation remained un- 
changed and that negotiations with the sub- 
committee would be continued on Monday. 

Disney Merchandise Firm 
Opens Office in Canada 

Kay Kamen, Inc., New York firm which 
controls the merchandising rights to the 
Walt Disney cartoon characters, has opened 
a Toronto office for contacts with Canadian 
manufacturers and advertisers, with Willis- 
ton P. Munger of Kansas City in charge. 

Additional new branches of the company 
are to be opened in Chicago and Paris. 
Foreign offices have already been established 
in Italy, Spain and Australia. 

Hoffberg Office in Paris 

J. H. Hoffberg Company has opened a 
new sales office in Paris, in charge of 
Joseph P. Lamy. Mr. Hoffberg has ac- 
quired from Morris Kleinerman European 
rights to four series of cartoons and novel- 
ties in color. 

Fov/ler with Mundus 

Guy Fowler has joined Mundus Pictures 
and will be in charge of press books. 



July 7 , 1934 


Advance outlines of productions nearing 
completion as seen by Gus McCarthy of 
Motion Picture Herald's Hollywood Bureau 



(Formerly "All Good Americans") 
MGM-Lncicn Hubbard 

This story is lilting comedy into which is 
"woven deep human romance. The locale is the 
Bohemian quarter of Paris. The characters are 
a gay and easy-going group of young Ameri- 
cans. The straight story is pepped up by sev- 
eral unusual topical situations, most important 
of which are the famous Lindbergh landing and 
an atmospheric incorporation of the gaudy, 
colorful Art Students Ball. 

Picture is adapted from the stage play, "All 
Good Americans," written by S. J. and Laura 
Perelman, who did "Horsefeathers." The screen 
play is by Wells Root. Direction is by Edward 
L. Marin, who made Monogram's "Sweetheart 
■of Sigma Chi" and "A Study in Scarlet." 

The cast is composed exclusively of well- 
known screen names. It includes Madge Evans, 
currently in "Stand Up and Cheer" and "Grand 
Canary" ; Robert Young, recently featured in 
"Rothschild" and "Lazy River" ; Otto Kruger, 
now in "Treasure Island" ; Una Merkel, cur- 
rently in "Murder in the Private Car" ; Ted 
Healy, Louise Henry, a newcoming juvenile, 
Edward Brophy, George Meeker, Bert Roach 
and Richard Tucker. 

Possessing an unusual showmanship title and 
presenting a better than average box office valu- 
able cast, the yarn is not only light and pleas- 
ing midsummer entertainment, but the elements 
it incorporates are definite exploitation assets. 
The Lindbergh flight, for practical purposes, is 
the occasion of the story, and as it develops its 
hectic newspaper drama romance atmosphere, 
it is colored by intimate glimpses of merry 
Parisian life. Topper for exploitation pur- 
iwses is the Bohemian Art Students Ball. All 
elements in the story seem to be interest-exciting 
qualities which, tied up with cast names, locale 
and theme, can be easily adapted in many ef- 
fective ways. 



This production is an adaptation of a legiti- 
mate show in which Fred Astaire appeared on 
the New York and London stage. The story, a 
straightaway comedy romance, was written by 
Dwight Taylor, who did the adaptation of "Are 
You Listening?" for MGM. It was adapted 
to the screen by George Marion, Jr., who did 
"This Is the Night," "Love Me Tonight" and 
"Adorable" ; Dorothy Yost and Edward Kauf- 
man, who did "Aggie Appleby" and "Hips, 
Hips, Hooray." Direction is by Mark Sandrich, 
•who recently completed "Cockeyed Cavaliers" 
and whose adaptability to this type production 
is further attested by "Melody Cruise." 

Fred Astaire, who appeared on the screen in 
"Flying Down to Rio" and "Dancing Lady," 
has the same lead role as in the stage produc- 
tion, and Ginger Rogers, recently in "20,000,000 
Sweethearts" and "Finishing School," is starred 
opposite him. Two actors, Erik Rhodes and 
Eric Blore, who appeared in the London pro- 
duction, will make their American screen debut. 
Other important principals are Alice Brady and 
Edward Everett Horton. 

The locale is London. Given a comedy set-up, 
it develops into a romance. Astaire does all 
the romanticizing inasmuch as the apple of his 
ej'e. Miss Rogers, does everything possible to 

discourage his affectionate inclinations. Finally, 
as his friend Horton, a solicitor, is engaged by 
the young lady's aunt, Miss Brady, to arrange 
for a divorce, Astaire becomes an innocent co- 
respondent. Coloring the basic comedy romance 
in the anti-climax is the presentation of Miss 
Rogers and Astaire in a novel dance arrange- 
ment, "The Continental." 

The yam seems to have that peppy, clever 
punch and color usually so appealing to mod- 
ern audiences. Despite the tone of the title, an 
examination of the story indicates that there 
will be nothing in it that will cause exhibitors 
to worry. Presented as a lively comedy, it 
looks to have that quality that clicks with the 


U. A. -Reliance 

The Alexandre Dumas classic is being 
brought to the screen on an extensive and costly 
scope. The cast of principals, numbering more 
than thirty, is supported by hundreds of extras. 
Robert Donat, noted European stage and screen 
star, familiar to American audiences through 
his part in "Henry VIII," has the leading role. 
Elissa Landi plays the part of Mercedes. Others 
who will be seen include Louis Calhern, Sidney 
Blackmer, O. P. Heggie, Luis Alberni, Georgia 
Caine, Irene Hervey, Juliette Compton, Helen 
Freeman, Holmes Herbert, Stanley Fields, 
Lionel Belmore, Clarence Muse, Laurence Grant 
and Ferdinand Munier. 

The task of transferring to the screen the 
Dumas story of political intrigue, shattered love 
and life, heartless cruelty and the fantastic dis- 
covery of a valuable treasure that enabled Ed- 
mond Dantes, as the Count of Monte Cristo, 
to revenge himself upon and destroy his ene- 
mies, was handled by Philip Dunne, Daniel 
Totheroh and Rowland V. Lee. Lee also di- 
rected, and other than reference to his work on 
"Zoo in Budapest" and "I Am Suzanne," the 
vast difference between this story and others 
the trio have made does not permit comparison. 

In every way, this picture promises to be 
big. Having seen some oi it made, particularly 
the tableaux in the anti-climax, it gives every 
indication of being the type of production that 
will stir popular imagination. While there is 
historical fact to the story, it is not an his- 
torical romance or drama in the sense of 
"Rothschild" or "Viva Villa." And while it 
is a thrilling spectacle, it is vastly different 
from the spectacles as interpreted by the De 
Mille picture. Actually, it is the story of one 
man, his sufferings and triumphs, portrayed 
against the social and political background of 
early 19th century France. Continually it builds 
on impressive entertainment elements that have 
proved themselves time after time. The elab- 
orateness upon which it is being produced is a 
direct tip-off as to the character of showman- 
ship that should be given this picture. 



In story, settings, music, spectacular dance 
routines and girl glamour, this production is 
being developed along the "42nd Street," "Foot- 
light Parade," "Wonder Bar" technique. Unlike 
its predecessors in that a hokum comedy story 
motivates, the novelty comes in the surprise 
spectacle numbers which, culminating in a gi- 

gantic modernistic song-dance situation includ- 
ing a sensational revolving staircase and tre- 
mendous giant wheel, appear to have the eye- 
thrilling quality to top the big features of the 
earlier pictures. 

The story is by Robert Lord and Delmer 
Daves, with the adaptation and screen play by 
Daves. Ray Enright and Busby Berkeley are 
collaborating on the direction. Music and 
lyrics are by Warren and Dubin, Fain and 
Kahal, and Dixon and Wrubel. 

Leading players include the headliners of 
previous Warner musical extravaganzas. Ruby 
Keeler and Dick Powell, last together in "20,- 
000,000 Sweethearts," top the cast, which as- 
signs featured roles to Joan Blondell, Guy Kib- 
bee, Hugh Herbert and Zasu Pitts. Supporting 
players number Johnny Arthur, Ronnie Cosby, 
Berton Churchill, Phil Regan, Leila Bennett, 
Arthur Vinton, Arthur Aylesworth, Bess 
Flowers, Pat O'Malley and Claire McDowell. 

The yarn, given a theatre folk background, 
begins as an out-and-out comedy. Herbert, 
eccentric, wealthy longhair, gives cousin Kibbee 
$10,000,000 on condition that he use it to found 
a moral elevation society. Romance, however, 
between his daughter. Ruby Keeler, and Powell, 
who want to produce a show, complicates the 
already embarrassing situation in which Kibbee 
finds himself with the golddigging Joan Blon- 
dell. As the story permits three outstanding 
music, dance-spectacle numbers, "Girl at the 
Ironing Board" (Miss Blondell and chorus), 
"Eyes for You" (Miss Keeler, Powell and 
chorus) and the sensational "Dames," in which 
entire company participates, the windup has 
Herbert financing the Powell-Ruby Keeler love 
match and the show and taking Miss Blondell 
as his wife to assist in spending the fortune. 



This comedy drama is adapted from a widely 
read novel by Wallace Smith. The screen play 
is by Smith and Arnold Belgard. Direction is 
by Lewis Milestone, most recently credited with 
"Rain" and "Hallelujah, I'm a Bum," but best 
remembered for "All Quiet on the Western 

Principals in the cast include several familiar 
and a pair of new screen names. John Gil- 
bert heads the roster, which features Victor 
McLaglen, Fred Keating, legitimate stage re- 
cruit who has appeared in many Warner 
Brothers shorts ; Wynne Gibson, featured in 
several Paramount productions, Alison Skip- 
worth, currently in "Shoot the Works" ; Flor- 
ence Rice, daughter of the noted sportswriter, 
Grantland Rice, making her film debut, and 
Leon Errol. 

All action takes place on a liner bound from 
San Pedro to New York. As McLaglen, in typ- 
ical dumb detective fashion, endeavors to re- 
cover a stolen bond which he believes is in the 
possession of slick crook Keating, the situation 
becomes comically complicated by an endless 
chain of romantic meanderings. Dialogue in- 
dicating that the action will build to quick 
surprises, baffling not only to the participants 
therein but likewise the audiences, the show 
concentrates on accentuating the semi-hokum 
comedy element. 

The yarn looks to be an outstanding value 
for mass consumption and suggests a line of 
tricky and novel showmanship for creating 

July 7, 1934 





WITHOUT "feelers; says SCHENCK 

Alexander Korda's Six Next 
Season Will Be Sold on Same 
Terms as Other United Art- 
ists Product, Says Executive 


London Correspondent 

Joseph Schenck talked very freely of the 
merits — and shortcomings — of British pro- 
duction when he met the press boys at 
Claridge's the other evening. 

British pictures, he told us, had got be- 
yond the stage at which they had to be 
sold "tentatively" in America. Until re- 
cently, it was a case of one exhibitor cau- 
tiously trying out the imported feature 
and the next waiting to see what hap- 
pened before he risked a date. This piece- 
meal method of selling was no longer 
necessary, K/tr. Schencic said. 

United Artists had had no difficulty in 
selling London and B & D films in advance, 
on a percentage basis, he declared. What 
they wanted was an assurance from the 
British studios that the product would be 
there for the dates given the exhibitor. 
Alexander Korda is to make at least six 
pictures a year for United Artists release 
on the same terms as its other releases. 

Korda had plenty of subjects, said 
Schenck, and United Artists wanted him to 
use artists like Fredric ]\larch and Ronald 
Colman and would help in every other 
possible way. 

There are to be discussions also between 
Hubert Marsh of B & D and the United 
Artists chief, who said United definitely 
would release "Brewster's Millions," with 
Jack Buchanan, in the States, but that he 
■was viewing "Nell Gwyn" before coming 
to a decision. Censor difficulties are hinted. 

The big news about B & D was that 
Herbert Wilcox, in New York, had ar- 
ranged with D. W. Griffith to direct "The 
Old Curiosity Shop" here. It appears that 
D. W. was down at the lie de France see- 
ing Mr. Schenck of¥. He is in first class 
Trealth again, said the executive. 

"The Private Life of Don Juan" is to 
open the London Pavilion when United 
Artists reopens the reconstructed building 
in September. If the building is not ready, 
the London film will go into the Leicester 
Square theatre. 


Chaplin Working to a Scenario 

Charlie Chaplin working to a cast-iron 
scenario is a miracle in prospect, said Mr. 

The United Artists executive said that 
in Hollywood he had seen sets already built 
at the Chaplin studio which he called among 
the most ambitious he has seen in any 

It is the fact that production is to be on 
a big scale mechanically — huge factory sets 
implying the employment of thousands of 
■extras are scheduled — which has induced, or 
rather compelled, Chaplin to abandon his 

usual leisurely and temperamental style of 
production, said Mr. Schenck. 

"Charlie has a new method of presenta- 
tion in view," said he, "and production is 
going to be a big job for him, and entail 
enormous overheads. Therefore, he has 
for a year past been getting the film down 
on paper and told me that he had it all 
complete, down to the last gag. 

"This is a big change from his usual 
method of shooting his films in single scenes, 
perhaps at intervals of several months, but 
then the whole thing is going to be on new 

"The subject? Well, all I can say is 
that it is going to be a presentation, from 
a humorous angle, of some of the outstand- 
ing facts of the present day world. 

"Of course it will be silent. Charlie 
doesn't need to talk, and he is not likely to 
let anyone else talk." 


European Activities Centered 

The announcement by Mr. Schenck that 
United Artists is to make London the head- 
quarters of all its business activities in 
Europe is a big compliment to Murray Sil- 

Mr. Silverstone is to be European gen- 
eral manager, and will extend his offices 
and personnel here in order to cover, as an 
extra activity, all the business previously 
transacted from Paris as a center. 

"It is a case of losing a little geograph- 
ically in order to make use of the abilities 
of one of our best executives," is how Mr. 
Schenck put it. 


Elstree Expanding 

Three production companies are negotiat- 
ing for land for studio erection at Elstree, 
a total area of 100 acres being mentioned. 

While no names officially are stated, Lon- 
don Film Productions, Ltd., is believed to 
be one of the companies concerned. 

J. V. Bryson's Consolidated Studio (once 
Whitehall) is adding three stages. London 
has been using space here for "The Shape 
of Things to Come." 


Instructional Films 

Gaumont British Instructional Film dis- 
played the first seven of its new output of 
educational subjects to an audience of teach- 
ers at the Academy. 

H. Ramsbotham, M.P., Parliamentary 
secretary to the Board of Education, spoke 
and a questionnaire was circulated, to get 
the expert reaction of the audience as a 
guide to future production. 

The same procedure is being followed 
throughout the country. 


Sophie Tucker has been signed by British 
Lion for a part in "Gay Love," now in 
progress under Leslie Hiscott's direction at 


Tobis Film Distribution, Ltd., has been 
registered with a nominal (£100) capital 
to introduce French and German films re- 
corded on the Tobis system. 

Joseph P. Kennedy 
Head of Federal 
Securities Board 

Joseph P. Kennedy, capitalist and former 
motion picture executive, on Tuesday as- 
sumed the office of chairman of the Fed- 
eral Securities and Exchange Commission 
in Washington, where he will make his 
headquarters for the next five years. 

Mr. Kennedy was unanimously elected to 
the chairmanship of the commission after a 
long session of Monday, marking the first 
meeting of the group. The appointment 
served to put an end to the differences be- 
tween Mr. Kennedy and Ferdinand Pecora, 
Senate counsel in the stock market and bank- 
ing investigations last year. Mr. Pecora, 
during the course of the investigations, un- 
earthed evidence which revealed Mr. Ken- 
nedy as a participant with members of Kuhn, 
Loeb & Co., Walter P. Chrysler, Lehman 
Bros., and others, in a Stock Exchange syn- 
dicate that operated in 145,000 shares of the 
common stock of Libby-Owens-Ford Glass 
Co. That was generally understood to be the 
reason behind the opposition of Mr. Pecora 
to Mr. Kennedy's appointment as chairman 
of the commission. 

Although Mr. Pecora arrived in Washing- 
ton from New York on Monday undeter- 
mined as to whether or not he would even 
accept a nomination to serve as a member 
of the commission, he was sworn in later 
in the day along with other members. 

As the day's session ended, Mr. Pecora 
and Mr. Kennedy emerged from the confer- 
ence chamber, arm in arm, and marched 
down the corridor, smiling and chatting, 
"chipper," according to the New York 
Times, "as two long-parted and suddenly re- 
united brothers." 

Mr. Kennedy, who is a son-in-law of 
former Mayor James F. Fitzgerald of Bos- 
ton, is a Democrat of note in Massachusetts 
and a former Harvard man, graduating four 
years after President Roosevelt. He has 
been one of the President's closest friends 
for many years, and contributed a large sum 
to the Roosevelt presidential campaign. 

His banking career started immediately 
after his graduation from Harvard in 1912, 
beginning as a state banking examiner in 
Massachusetts and then working in his 
father's bank, the Columbia Trust Company. 
At the age of 25 he was made president, 

Later he terminated his banking activities 
to become the Boston office manager of 
, Hayden, Stone & Company, which was the 
beginning of a long Wall Street career. 
Subsequently he became interested in the 
motion picture industry and purchased the 
FBO company, later selling the company 
to Radio Corporation of America, which 
changed the FBO name to RKO. Mr. 
Kennedy then became active in the affairs 
of Pathe Exchange, Inc., and when Pathe 
sold out and merged with RKO Mr. Ken- 
nedy retired from film aft'airs. 



July 7 , 1934 


The BLUEBOOK School 



w,ll depend? (C) What !s the speed of light pT^e^nP nTw^'''^ ^° slass or vice versa 

urface of a lens where it is encountered pasr/hat surwi '-t^ ^** ' ™^ i ^^"^ Perpendicular to the 
lens surface at right angles (perpendicular TJ^h^slra^lTdl ^al^^^^trien":^ ' ^ ^'^ 

Blue Book School Question No. 225 was- (A) 
Have odd lenses or eombinations of hnses anv 
PracHeal value? (B) What books or pMi Z 

ists library^ (C) IVhat u your view as to the 
trSS "^'^--"'-^ Hcense for pZ 

Answer to Question No. 223 

The answers were most interesting. Because 
I am myself author of the Bluebook and editor 

I sho^d'n ' """^^ P^P^-- I did not feel 

1 should pass upon section B of the question 

Ls [urneH tT'' '''''' ^'^^-class projection: 
W f ^ °^ the answer over to 

them and accepted their dictum, merely rewrit- 

oKd by Them"'- -^'^^ 

As to section C, there can be such a wide 
vanance of honest opinion that I will not pX 
lish any names this time. 

"Tf I' Th^^-^ gentlemen say ; 

nc. S ^''1'^'''°" ^^'^ed includes only the 
use of odd enses or combinations of lenses in 
projection, they have no value e.xcept a " 
very minor one in that they may be us^ as a 
rather poor magnifying glass to examine film 
damage, sprocket teeth, et cetera. Howeve^ 

profe don" "'"h T^"^^ connected with 
projection, such as, for example, a burning 

QuiftK^'hl^"' ^'"^hardson: As per your re- 
quest, we have gone very carefully over such 
answers to section B of question No 225 as 

sXted 'tha^" f T% '^^^^ -animousS 
selected that of J. Wentworth as best We 
therefore return it with our unanimous okav 
for publication. The answer reads ^ 
1 believe I am acquainted with all books 
dealing with presumed authority in mot on 5c- 
ture projection and projection procedure as 
applies to motion pictures. I have them alf and 
have studied them thoroughly, witl! re'uh thS 
ih^r u""^"^ *° conclusion that the 
Bluebook ,s by far the best of them all, in so 
tar as has to do with volumes 1 and 2 which 

TT^ncf n 3 contains much 

most excellent matter, but it needs bringing up 
to date and considerable elaboration (Thft is 
now being done.-F. H. R.) It is wel worthy 
shonlH^.'' P^Jectionist's library, but 

should be supplemented by Nadell's 'Proj-ectinff 

matter "^In l'> "'"t' "t 
matter. In addition, I wou d suggest the fnl 

lowing: 'Photo Electric Cells and Thdr Appl -" 
cation,' bv Workin and 'Theory r.( %u - 
Vacuum Tubes,' by Chaffe. " ^heromic 

"In addition the following are good for th^ 
projectionists' library: 'N^tionar Projectbn 

ikctrical r,!!d""- S^*""^? ^^'"P^"^': 'H-wkens 
Jiiectrical Guides,' Hawkens and Staf¥ • 'Les- 
sons m Practical Electricity,' Swoope Lenses 
ProTecHo'"^ "^^ SouthaT'ServTc ng 

ViS Fat&""'T"lv Publications! 

^sbLdTie^rrigruftrd^;^' -^^^ - 

fhA\^° publications. The Bluebook School in 
the Motion Picture Herald ajid the Pro ec 
tion Department of Better Theatres its monthlv 
equipment edition, should both be kept T file 

StLfs't' T"''"'"^'^- 'InternatioLl Pro: 

jection St also contains excellent matter." 
I believe I should here remark that manv 

atVxcXm' f?'' ^^r.^^' of which' 

are excellent , for example, "Optic Proiectinn " 

2t^yearT:;o':^^"^"^ ^" '^^ '^^ '^^ ^^^^ 
r^}'P ^ 'n"^ selected what seems to me to be a 
most excellent answer to section C, though were 
the guilty party" named he probably would 
reads:' ^-P^^^s^nt time.' This' answe^ 

"There can be no manner of doubt but that 
fec'tlonrstr'"'^'""'' '^""^^^ examination of ^o 

R.dTard«,n^beyond dispute, I believe ' (So do 

"But how many really competent, honest ex- 
aminations exist in these Unhed States? A^. 
there any.? Right here in * * * exam n^A^ 
t° "^^"^^ pertaining sS to fire 
hazard, which is truly absurd in so far as has 
o do with determining the competency of the 

£eover"iri"°^°" picture-sou'nd pr'ojectiom 
ivioreover,_it s charged and, I believe is true 
that examinations are influenced by politicians 
S^ardle? It also*-' ^'f^'T ^PP"-"* 'Le p'asLd 
u^io'n'Slciah h e"a'-1'nlLTn^\,St 'Z' T 
how is it that occasioiJl^a "rieid of iheft 



"Personally I am a union man and I believe 
a oval one, too. I dispute the lovalt; and even 
the decency of any union officer or member who 

fair't^'tht ^^''^ '° '"""^ proceeding. It is un- 
lair to the union: to its other members who 
must compete with the ignoramus (and we cer? 
ta.nly have them right here in * * *) to the 
Sll^try'it^elT'"'^'- " exhibitoV and^^ 

exiL-nation'nf n ^°"'f"^- ^°"ducted, competent 
iect onis projectionists, or apprentice pro- 

jectionists IS, or at least would certainlv be 

base'd m reh'n 'T'T'' ''"^ ^ examStion 
cased merely on fire hazard is verging UDon 
silly. The examination should be such as 
definitely determine whether the applicant il 
competent to conduct projection safely a" to 
fire hazard and still more, important to live 
audiences the best possible return for the^r 
money with the least possible eye Itigue The 
examiner represents the public; hencf should a real examination. If he does he w li 
have rendered a very real service. There is bu 

rent? hre hazard to audiences now '' 
sw?r Tl^'e'"' '^''^ word of this an- 

ient . -^^^ Sood sense and an intelli- 

gent comprehension of the whole matter I do 
not believe there is an examination n all thk 
Petent or'^''^^ '^'"^'^ resembles a Urn! 
York ntv if" P^^'^d '■'ght here in New 
iork City who are as competent to assume 
charge of a projection room L I would be^o 
assume the chair of mathematics Tn Yale T 
thingTSufi IT'''' ^"^ do'som'e'She 

"on%t''"'.' F^'-ds to machine operato s 
sw?r of W T V^'f append tL an- 
Here it i^" ^"'"P'^^' ^hort and excellent. 

vide^dXf LS-P™^'''''"."'^*^ desirable, pro- 
o it and .^fi "^"j -^"^ P°''t*« be kept out 
° ven to th. , ^partial examination be 

stuV if'hrfnew Je'Tvoul^ti^e r^as"'^'' 
tr o£rndn-t^° But^on- 

fo tTkf t !t ^^^^^^^^^^ w 

boaJf Luld be S:r"A c'o"'^'^V "° '''^^"^'"^ 
not require a license to H 'competent man does 
it for the sati facHon ^ does 
and betteW^T £7rofelion "^ ' ^'"'^ 

and bettering his profession 

tha^-'Jf thTs'man'sman - 
tnis mans manager were alert! 

S H O 



Exhibitors and motion picture fans 
all over the world crowned "POPEYE' 
the king of screen cartoons. 

The animated cartoon which at the present 
time is receiving wide-spread interest is'Popeye 
the Sailor'. It would seem that he is destined 
to join the list of animated cartoon immortals. 
Because it deserves mention and because it is 
unusually clever, attention is called to 'Popeye's' 
latest starring picture 'The Man on the Flying 

Trapeze . ' — Winchester, Ky., Sun 

So often your favorite comic strip characters 
are disappointing on celluloid. Here at the 
United Artists is on animated sailor who leaves 
nothing to be desired by the most ardent 
'Popeye' fan . . . This is the first of the cartoons 
to come near the standard of perfection. 
Synchronization and drawing are excellent... 
We predict a great future for 'Popeye' in the 

— Chicago American 

Popeye the Sailor' cartoons have climbed in 
seven releases to one of the most popular short 
features on the screen. — Miomi Herald, Miami, Flo. 

Popeye the Sailor' who appears daily on the 
News-Telegram comic page, will be shown in 
Paramount's Popeye cartoon at the following 
theatres on Saturday: Columbia, Longview, 
Wash., Isis, Independence Highway, Portland. 

You'll have to pardon us while we wax enthusi- 
astic over 'Popeye' again . . . Always artistic, 
Popeye has some delightful new methods of 
annihilation, which he displays for the charmer, 

Oliveoyl. Chicogo-American 

For yousn what just love short subjects, be on 
the watch-out for 'Popeye and Wimpy', an 
animated cartoon released by Paramount. It is 

extremely funny." — New York Journal 

^.theart of the scd^ 

"a 'Betty Boop' short fills the program that may truly be 
termed a bargain in pleasure.' — Harnsb urg, Pa., Patriot 

"Betty Boop cartoon. Just the kind of entertainment we 
ike and we wont more of them." 

— Orpheum Theatre, Oxford, N. C. 

Betty Boop — There is no better cartoon comedy on the 

morket. ' — Opera Houte, Cogswell, N O 

Betty Boop— Kiddies like Betty. Enough said. Play 'em." 

— New Palace Theatre, Gallatin^ Tjnn. 

"Betty Boop cartoons ore always good." 

— Gorlocli Theatre, Custer, B.C. 

"More interesting than the feature picture is a Betty 
Boop cartoon for which Rubinoff and his orchestra have 
recorded the accompaniment. It is called 'Parade of 

the Wooden Soldiers'." — Jocksonville, flo , Times Union 

"Betty Boop's newest at McVicker's is introduced with all 
the fanfare of a feature picture." —Chicago Americon 

''If Bfi's a PARAMOUNT PICTURE, it's the best show an town" 

and that's the long and "Short" of it, for Paramount measures its short subjects by the same high 
standards of showmanship used for its feature productions. PARAMOUNT SHORT SUBJECTS 
are not program fillers but seat fillers ... as showmen all over the world will testify. 

In 1934-35 There Will Be Approximately 






Paramount News hears all, sees all, scoops the world — the one newsreel 
that never misses. All the news that is interesting, presented in a 
fresh and entertaining fashion. Two issues a week throughout the year. 



The little girl that Max Fleischer has made the 
sweetheart of the screen, BETTY BOOP is the 
only short feature personality that can get front 
page stories in the newspapers of the country. 
Such popularity must be deserved, for the press 
keeps its finger on the pulse of public interest. 


Crowned king of the cartoons by exhibitors all 
over the world, "POPEYE" is conceded to be the 
most POPULAR SHORT SUBJECT on the screen 
today. Audience reaction to this cartoon is 100%, 
and that means box office. 


We predict that Max Fleischer's new series of 
COLOR CARTOONS will be the greatest ever 
released. A trick process gives this new short 
feature a third dimension, the efFect of which is 
enchanting. Watch your audience go for the 
first one of these, "POOR CINDERELLA." 



13 exciting single reelers. Thrilling adventure in 
beauty and life, breath-taking "inside" views of the 
v/onders of science, music and art, as the roving camera 
visits the ends of the earth for unusual subjects. 



The spotlight of the screen bringing to a v/aiting 
public the foremost stars of radio, stage and screen. 
Sv/eet songs, hot music, patter, clowning — fast mov- 
ing kaleidoscopes of entertainment that make sweet 
spots in every program. 



Everything that is thrilling, everything that is enter- 
taining — laughs, music, cockeyed comedies, the 
spice of life, presented in a series of novel enter- 
tainments which will be short but sweet. 



The great world of sport in all its most interesting 
phases, presented by Grantland Rice, the man who 
knows it better than anyone else, a man whose 
name is worshipped by 50,000,000 followers of 
sport. These shorts are high spots on any program. 


"won CA^ 

J . six color cartoons .n 

, will produce six co cOLOR 
Paramount w.H P ^^""..f boW-ng 

: og a.s >nW34-35 .ho» ^^^^^^^ ^^^^ 
en.ertaina,entp-g ._^^^,,,,oaep^t-n ,^ ^^^^ 

9 cWo-c-s .Wo. ,..e 
of the interesting ^.^d m .^^ 

July 7 , 1934 




Pete Smith, Long on Experience 
in Promotion, Points Ways to 
Capitalizing on Short Product 


Segall Is Elected 
To Head New Slate 
Of Exhibitor Unit 

Charles Segall was elected president of 
the Motion Picture Theatre Owners of 
Eastern Pennsylvania, Southern New Jersey 
and Delaware last week, at the head of an 
entirely new slate, following the resignation 
of all officers. 

Other officers elected were : Harold D. 
Cohen, first vice-president; Michael Egnal, 
second vice-president ; Mike Leffy, treasur- 
er ; Marcus Benn, financial secretary ; 
George P. Aarons, secretary. Named to 
the board of managers, which was increased 
to 12, were: Ed Jefifries, Mr. Benn, Morris 
Gerson, Luke Gring, Leonard Schlessinger, 
Abe Sabolsky, Morris Spiers, Lou Felt, 
Joseph Conway, I Hoffman, Morris Handle, 
Fred LeopoH. 

Lewen Pizor was made an honorary 
member of the board with a right to vote. 
The members also voted to retain the pres- 
ent name and remain with the national 
body. Ed Kuykendall, president of the 
MPTOA, reviewed the code situation and 
defended the MPTOA. He insisted it was 
necessary to give the code a fair chance. 

M. E. Comerford called on the meeting 
to pass a resolution asking producers to 
clean up films and watch advertising. He 
said he believed about 80 per cent of the 
present complaints are justified. At a 
luncheon later George Dembow of National 
Screen Service said distributor participa- 
tion in trailer selling soon would raise an- 
other score charge problem. A resolution 
was passed asking MGM not to lay an 
added expense on exhibitors by launching 
its own trailer service. 

"Publicity man becomes one-sheet" ivonld 
have made a neat heading for this item. 
The many friends of Mr. Pete Smith, for 
some years a resident of these parts and 
libiquitous in the promotional affairs of the 
motion picture on and about Broadway, has 
now been completely converted, by the 
transmutation processes of Hollywood and 
the MGM lot, into a "name." Pete has thus 
in effect become a demonstration of his own 
medicine, talking himself off the typewriter 
on to the screen and the "boardings." If his 
voice holds out, like as not Pete will ere 
long become a twenty-four sheet. As a 
friend and co7ttemporary on Broadway, we 
cast about for a properly appreciative inter - 
viewer to deal with this situation and found 
him — in the person of Mr. Pete Smith, ivho 
q2iotes himself ably in the subjoined copy. — 
The Editor. 

"For seventeen years ... or is it seventy? 
. . . I have been splitting infinitives between 
splitting headaches," says Pete Smith, "in 
an effort to tell the world and his wife about 
this picture or that one ... or about the new, 
glamorous, irresistible beauty Joe Doakes 
'discovered' in the harem of Abdul the Mag- 
nificent and who was about to rise to unpre- 
cedented heights as a flaming star of Un- 
equalled Pictures Corp. 

"Splitting the infinitives was not so diffi- 
cult for an old infinitive splitter like myself 
. . . but curing the headaches resulting from 
a lack of exploitation possibilities or pub- 
licity angles in some of the pictures proved 
quite a task ... in fact several tasks. 

"Those seventeen years of searching for 
sales slants in all the fifty-seven varieties of 
motion picture productions now simplifies 
to some degree the problem of making short 
subjects tvith definite exploitation and pub- 
licity angles. 

"In making MGM shorts, we often have 
discarded what otherwise might have made 
an interesting subject for the sole reason 
that it offered nothing in the way of an ex- 
ploitation idea. Making shorts that deserve 
exploitation is one problem . . . and mak- 
ing them with an angle that the exhibitor 
can sell is another. 

"Let's take the bowling short, 'Strikes and 
Spares,' for example. There's a ten strike 
for an exploitation subject — with no pun 
intended. There are more than 6,000,000 
organized bowlers in the United States and 
they're the most rabid fans you'll find out- 
side of a psychopathic ward. 

And Twice As Many More 

"In addition to the 6,000,000 bowlers who 
belong to the American Bowling Congress 
there probably are at least twice that many 
who do not take their bowling quite so seri- 
ously and therefore do not belong to the 

"The national body as well as the indi- 
vidual associations in the various cities 
throughout the country will go the limit in 

exploiting this picture. They will arrange 
theatre parties, place posters in all the bowl- 
ing alleys, circularize the members of their 
organization and in other ways get behind 
'Strikes and Spares.' 

"The sensational plays by Andy Varipapa 
make good sport page publicity, and when 
we call his shots sensational we are being 
ultra conservative. He can make a bowling 
ball say 'uncle' in eleven languages. 

"Stepping from bowling balls to baby 
bawls . . . there's no limit to the exploita- 
tion possibilities in the short 'Taking Care 
of Baby.' Baby contests, newspaper photo 
concerts, tieups with stores handling baby 
clothes, baby style shows and any number 
of additional ideas suggest themselves. 

Baby Picture Easiest 

"A baby picture is about the easiest type 
of photograph to get published, which should 
make it easy to get newspaper space. 

"Few subjects of a sporting nature have 
caused as much controversy as pro football 
versus the college game, which is the reason 
behind the making of the short entitled 'Pro 
Football.' This national argument about the 
relative merits of the two styles of play can 
be revived in the newspapers, among college 
students and on the air with talks by athletic 

"Any number of exhibitors are today 
ballyhooing their short subjects, when they 
have something they can sell, and are dis- 
covering that in doing so they also open new 
channels for exploiting their featured attrac- 

Charney Handles Agfa 

C. King Charney this week was appointed 
as distributor of Agfa 35mm. negative and 
positive film for the United States. The 
appointment was announced by R. H. 
Woodford, vice-president of the Agfa 
Ansco Corp. 

Supplement Press Book 

Raspin Productions has added a supple- 
ment to its press book on Edwin Carewe's 
"Are We Civilized," of several hundred 
endorsements of the picture. The book con- 
tains 16 pages of material and accessories. 

Savini Closes Deals 

R. M. Savini, president of the B 'N' B 
Corporation, has closed distribution deals 
with Charles Tarbox, of F. C. Pictures Cor- 
poration, Buffalo, and D. C. Millwai'd of 
Cosmopolitan Film Exchange, Seattle, on 
the series of 12 Bud 'n' Ben three-reel west- 
ern comedies. 

Cohen Extends Holdings 

Sydney S. Cohen, former president of the 
MPTOA, and now president of North 
Castle Properties, Inc., has purchased from 
the Stephen H. Briggs Estate a large block 
of property in the business section of 
Armonk, Westchester County, N. Y. 



July 7 , 1934 


This department deals with new product 
from the point of view of the exhibitor 
who is to purvey it to his own public 

Of Human Bondage 


Dramatic Romance 

This is serious, almost too sombre, dramatic 
romance. It is keyed to play upon the most 
tender human emotions and sympathies. Con- 
trary to the customary technique, a man is the 
character for whom sympathy is created. A 
woman is the one who stimulates those emo- 
tions. The picture is convincingly acted and 
directed, witii Bette Davis proving a surprise. 
Where good acting is understood and appre- 
ciated, it has impressive qualities. However, 
where folk think they have enough troubles of 
their own and are but little concerned with the 
life tragedies of fictionary characters, there is 
a depressing tone. 

It's the story of a man, Philip Carey, who 
loved one woman, Mildred, who had many 
loves. Club-footed, Carey wins sympathy from 
the outset. Fascinated by the girl whom he is 
happy to have tolerate him despite his defor- 
mity, Philip, unmindful of her cruel insults and 
against the advice of his friends, takes her back 
time after time as she regrets some new scarlet 
adventure. Nora tries to make him see the 
light, but her love for him cannot overcome 
his for Mildred. Eventually, coming under the 
influence of Athelny, who recognizes his poten- 
tialities, he submits to an operation rectifying 
his deformity. Another girl, Sally, Athelny's 
daughter, comes into his life and points the way 
to happiness. This Carey achieves in a tensely 
dramatic sequence with the now dissolute Mil- 
dred. Spurning her final appeal, he sends her 
away, knowing that she is going straight to her 

The subject matter of this story has been 
intelligently handled. At no time is it distaste- 
ful. Yet because of the theme, and recognizing 
the quality of the acting, something other than 
ordinary methods will be necessary if the show 
is to be successfully sold. Strength of cast 
names should be capitalized upon, as should the 
interest-creating influence of the story's author, 
W. Somerset Maugham. — McCarthy, Holly- 

Produced and distributed by RKO Radio. Directed 
by John Cromwell. Produced by Pandro S. Berman. 
Story by W. Somerset Maughan. Screen play by Les- 
ter Cohen. Photographed by Henry W. Gerrard. Art 
directors, Van Nest Polglase and Carroll Clark. Sound 
recorder, Clem Portman. Film editor, Willam Mor- 
gan. Music director. Max Steiner. Release date, July 
27, 1934. Running time, 83 minutes. 


Philip Carey Leslie Howard 

Mildred Bette Davis 

Sally Frances Dee 

Nora Kay Johnson 

Griffiths Reginald Dennv 

Miller Allan Hale 

Athelny Reginald Owen 

Dunsford Reginald Sheffield 

Dr. Jacobs Desmond Roberts 

Here Comes the Navy 

Comedy Drama 

Lots of novel showmanship entertainment 
phases are to be found in this production. Its 
unusual production value made more thrilling 
by exceptional Navy cooperation, it is a fine 
patriotic tribute to USN character. Also, it's 
a piece of entertainment merchandise, which 
runs the whole scale of elements ordinarily at- 
tractive to old and young. Rough and robust 
without being ribald, it's tuned to a modern 

pitch. It moves fast, with rapid-fire dialogue. 

The picture plays upon the emotions in two 
ways. It should be difficult for those who watch 
the spectacular Navy parade — the entire fleet, 
battle maneuvers, life aboard the ships, etc. — 
not to glow with pride. Similarly the sustaining 
comedy, drama, romance, adventure, thrill and 
danger, all motivated by an unusual human in- 
terest, are differently effective. 

Given a comedy atmosphere right at the 
start, the story concerns two men and a woman. 
Aired by his lady love, Gladys, when he loses a 
dance hall brawl and also the prize waltz to 
petty officer Bift', Chesty decides he'll join the 
Navy to get even. Once in, the various phases 
of training recruits are depicted, Chesty is 
assigned to the Arizona, Biff's ship. Then the 
brawling between the two, contrasted by 
Droopy's running gag comedy, gets hot to ex- 
plode when Biff finds that Chesty is loved by 
his sister, Dorothy. As the Navy tries to make 
a man out of Chesty, that worthy fails to re- 
spond to treatment and even though he is deco- 
rated for preventing a turret room disaster, the 
Navy decides he'd be better off elsewhere and 
transfers him to the dirigible Macon. That's 
the build-up for the topical news climax, when 
Chesty, again disobeying orders, rescues Bift' 
from the end of a rope dangling in midair as 
the Macon is unable to make a landing. A real 
sock thrill, this sequence clears the way for 
a peppy climax which has the pair still brawling 
until the parson silences them so that he can 
proceed with the wedding ceremony. 

In cast, production, story and acting values, 
this picture has the entertainment quality that 
merits a real campaign. It's a natural for Navy, 
veteran and patriotic group contacts. Sell it 
in the same spirit in which it has been made, 
with the advance campaign carrying a con- 
vincing ring. — McCarthy, Hollywood. 

Produced and distributed by Warner Bros. Story by 
Ben Markson. Screen play by Ben Markson and Earl 
Baldwin. Art director, Esdras Hartley. Music and 
lyrics by Sammy Fain and Irving Kahan. Director. 
Lloyd Bacon. Supervisor, Lou Edelman. Photography, 
Arthur Edeson. Film editor, George Amy. Gowns by 
Orry-Kelly. Vitaphone Orchestra, conducted by Leo 
F. Forbstein. 


Chesty James Cagney 

Biff Pat O'Brien 

Dorothy Gloria Stuart 

Droopy Frank McHugh 

Gladys Dorothy Tree 

Commander Denny Robert Barrat 

Executive Officer ; Willard Robertson 

Floor Manager Guinn Williams 

Captain Howard Hickman 

Droopy Maude Eburne 

The Admiral George Irving 

Black Moon 

( Columbia ) 

Melodramatic material, dealing with the black 
magic of the Island of Haiti, more commonly 
known as Voodoo, "Black Moon" intertwines 
romance, action, drama and a suspense thrill or 
two, all of which combine to bring this into the 
category of fast-moving entertainment, which 
should be comparatively easy in the selling. 
The origin, a Cosmopolitan Magazine story, 
should be a point worth stressing. 

The Jack Holt name in the leading role 
should give a pretty clea,r indication that an 
action film is to be expected. Fay Wray and 
Dorothy Burgess share the honors in the fem- 
inine lead. 

Localed in the early sequences in New York, 

and for the rest in Haiti, the film carries plenty 
of atmosphere, about which ballyhoo may be 
engendered. In that the colored natives in- 
volved in the film are rather harshly pictured 
as blood-thirsty worshippers of black gods who 
indulge in sacrificial orgies, the film may meet 
with objection in those situations where colored 
I>eople make up a portion of the patronage. 

There should be effectiveness in copy lines 
indicating the plot theme which finds a white 
woman, brought up among the natives, answer- 
ing the call of the black voodoo, and the hus- 
band, in his turn, forced to sacrifice his wife 
for his small child. The selling may well bring 
the best results if it be couched along more or 
less melodramatic lines. 

Miss Burgess, wife of the wealthy Holt, is 
about to make a trip with him to Haiti, where 
she was born and brought up by an uncle after 
the death of her parents, and under the care of 
a black woman as nurse. Holt is warned by a 
physician that his wife should be permitted 
to make her own fight against whatever is caus- 
ing her to be restless and unstrung. Holt begs 
off from accompanying his wife and baby, 
played by Cora Sue Collins, and sends his 
secretary. Miss Wray, to look after things. 

No sooner do they arrive in Haiti than the 
rumblings of Voodoo drums disturb the peace 
of the country. Her uncle attempts to prevail 
on Miss Burgess to leave by the next boat, since 
her presence, he believes, will result in serious 
trouble. Miss Wray wirelesses Holt to set sail 
from New York as soon as possible. 

Clarence Muse, negro boatman from the 
United States, guides Holt to the scene of a 
Voodo sacrificial ceremony, and there Holt 
finds his wife acting as high priestess, dancing 
before the howling blacks in an ecstasy of re- 
ligious fanaticism. When Miss Burgess returns 
to the house, she is followed by the horde of 
natives, and Miss Wray, the uncle, the baby 
and Holt seek refuge in the tower of the build- 
ing. Eventually they are captured, the baby is 
demanded by the blacks for sacrifice, and after 
an initial escape. Holt and Muse dash back to 
the ceremony in the hills, just as Miss Burgess, 
against her will, is forced to make a sacrifice 
of her daughter. Holt kills his wife, saves the 
child, and Miss Wray, who loves Holt and he 
and the child sail home to a new life. — Aaron- 
son, New York. 

Produced and distributed by Columbia. Directed by 
Roy William Neill. From the Cosmopolitan Magazine 
novel by Clements Ripley. Screen play by Wells Root. 
Assistant director. Robert Margolis. Photographed by 
Joseph August. Sound engineer, Edward Bernds. Re- 
lease date, June 15, 1934. Running time, 69 minutes. 

Stephen Lane Jack Holt 

Gail Fay Wray 

Juanita Lane Dorothy Burgess 

Nancy Cora Sue Collins 

Dr. Perez Arnold Korff 

Lunch Clarence Muse 

Anna Eleanor Wesselhoeft 

Ruva Madame Sul-te-wan 

Kala Lawrence Criner 

Macklin Lumsden Hare 

The Merry Frinks 


Moments of hilarious comedy alternate with 
touches of pathos and a suspicion of a tear in- 
centive in "The Merry Frinks." Properly sold, 
copy will emphasize that here is lively enter- 
tainment of a somewhat different sort. 

It is localed almost exclusively within the 
extremely narrow confines of the home of the 

July 7, 1934 



Frinks, a highly unpretentious apartment some- 
where uptown in New York City, which might 
be almost anywhere in any city. The point 
to get across is that these Frinks are ordinary 
folk, that with a bit of exaggeration, to be 
sure (which enhances the entertainment value 
of the picture), the audience will see them- 
selves as others see them. 

A grand conglomeration of what goes on 
within that family of Frinks, we have their 
squabbles, their petty jealousies, their equally 
petty and misguided ambitions, and through it 
all the figure of the mother, who continuously 
bears the brunt of the attack from all sides, the 
one who frantically, and for the most part 
successfully, holds the trigger-edge elements 
of the Frink family together. 

The roles are excellently taken in all cases, 
with special attention going to Aline Mac- 
Mahon as Mrs. Frink, Hugh Herbert as Mr. 
Frink, Allen Jenkins as the eldest son, and 
other good names, including Guy Kibbee, Helen 
Lowell, Frankie Darro. Those names indicate 
the necessity of hitting the comedy note in the 

We find this prize collection of Frmks dis- 
porting themselves each in his or her own 
peculiarly selfish way, with the exception of 
Mrs. Frink. Herbert is an almost perpetually 
inebriated newspaper sports writer, whose jobs 
never last long. Jenkins is the young lawyer, 
who is heart and soul and very loud-voiced in 
the interests of "the workers," and his denun- 
ciation of capitalism. Miss Lowell is the can- 
tankerous old grandmother ; Darro js the tru- 
ant-playing youngster with an ambition toward 
the squared circle; Joan Wheeler is the young 
daughter with considerably more confidence in 
her singing ability than has any other member 
of the family, whose wabbling romance with 
straight and steady James Bush Ma Frink is 
trying her best to bolster. Into the melange 
walks Australian Uncle Newt, played enter- 
tainingly by Kibbee, to stay for life. 

Trouble piles on trouble for Ma Frink until 
Uncle Newt, making his own supper, eats suffi- 
cient to accumulate acute indigestion and pass 
on. Trouble with a married man and the daugh- 
ter, and more inebriation on the part of Her- 
bert, and Ma Frink breaks down, telling her 
family she is through. Just then in walks a 
lawyer with a will leaving a million dollars or 
so to Ma, and she goes away to sumptuous 
apartments, beauty parlors and a gigolo for 
companionship. The family goes from bad to 
worse, if possible, in her absence, until, again 
reaching a breaking point, they rush headlong 
after Mom, catching her just as she is boarding 
a plane for Palm Beach. Her family acknowl- 
edges its collective selfishness, and happiness is 

Lively, entertaining comedy, this should be 
good for almost any type of audience and played 
any time. — Aaronson, New York. 

A First National Production. Distributed by War- 
ner Bros. Directed by Alfred E. Green. Story and 
screen play by Gene Markey and Kathryn Scola. 
Photographed by Arthur Edeson. Film editor, James 
Gibbon. Art director, Jack Okey. • Gowns by Orry- 
Kelly. Vitaphone Orchestra conducted by Leo F. 
Forbstein. Release date. May 26, 1934. Running time, 
67 minutes. 


Mom Frink Arline MacMahon 

Uncle Newt Guy Kibbee 

Joe Hugh Herbert 

Emmett Allen Jenkins 

Grandma Helen Lowell 

Lucille Joan Wheeler 

Norman Frankie Darro 

Ramon Ivan Lebedeff 

Benny Harold Huber 

Camille Louise Beavers 

Mrs. Shinliver Maidel Turner 

Mr. Brumby Harry Beresford 

Dr. Shinliver Harry C. Bradley 

Oliver James Bush 

Butler Charles Coleman 

Frieda Joan Sheldon 

Animal Antics 


An interesting number of the Grantland Rice 
Sportlight series, although hardly ranking with 
several of the more active numbers of the 
series, this pictures something of the training of 



B. I. P. production, distributed by Wardour 
Films, Ltd. Directed by John Daumery. Features 
Bobby Howes, Marian Marsh, Margaret Banner- 
man, Bertha Belmore and Fred Watts. 

Here is farce plus songs. Bobby Howes is 
well cast as the impecunious lover of "the girl 
next door" whom he persuades to elope and, in 
a London hotel, to pose as his sister until it is 
legally possible to marry her. (It takes three 
weeks in this country.) In a one-man show he 
sings well and puts over the comedy stuff — 
which includes the commandeering of a fire- 
wagon in a dash to catch the girl — with good 
spirit. Authentic London atmosphere. Moves 
quickly. — B. A. 



Produced by Warner Bros. -First National Pic 
tures, Ltd., and distributed by Warner Bros., Ltd. 
Directed by Michael Powell. Features Ian Hunter, 
Nancy O'Neill, Muriel George and Peter Saw- 

Ian Hunter, male lead here, is slated for Hol- 
lywood. He makes the best of a not too con- 
vincing romantic - salesman - becomes - business- 
magnate role. He starts a petrol-station enter- 
prise in rivalry with the father of the girl he 
wants, and gets her by beating the old man to 
it. Fair, light entertainment, it is chiefly inter- 
esting as providing an American introduction to 
Hunter. — B. A. 



Produced by, Warner Bros.-First National Pic- 
tures, Ltd., and distributed by Warner Bros., Ltd. 
Directed by Ralph Ince. Features Ian Hunter, 
Binnie Barnes, Molly Lamont and Ralph Ince. 

The hero has been in contact with a case ot 
bubonic plague aboard ship, and is trailed 
through London by the police, who expect him 
to start an epidemic. Otherwise the plot is more 
or less to pattern ; the hero wrongfully accused 
of poisoning his pal and finally cleared by con- 
fession of the pal's wife. The infection danger 
is used to provide fair suspense. Settings arc 
the Malay jungle, Singapore, and liner and Eng- 
lish country. Ince is the best player and his 
straightforward direction good. — B. A. 

wild animals. Seen are two polar bearSj en- 
gaged in a friendly boxing match ; a group of 
beautiful and highly trained Arabian horses, 
and the manner of training and developing lions 
at a well known lion farm in California. — 
Running time, 10 minutes. 

Strong to the Finich 

( Paramount ) 

Another of the excellently entertaining Pop- 
eye, the Sailor animated cartoons, this finds 
Olive Oyl with a flock of children at her health 
farm resentful of the spinach they must eat. 
Popeye arrives and proceeds to demonstrate to 
what extent spinach can produce the strength 
that only he possesses. It is highly enjoyable 
for both youngsters and oldsters. — Running 
time, 7 minutes. 

Burn 'Em Up Barns 


Fast Action 

If the episodes to follow are as completely 
crammed with action as are the first two of 
this new Mascot serial, the exhibitor may be 
assured of something which should be a good 
drawing card for the younger element among 
his patronage. Thrills and crashes, breakneck 

speed and dare-deviltry on automobile or motor- 
cycle, villains and the hero protecting the prop- 
erty of the girl he loves and with whom he is 
a partner in a garage. It is all there, with 
each episode concluding on the proper note of 
suspense and impending danger for the hero. 
It is happily true, as far as is indicated in two 
episodes, that comparatively little footage in 
each following episode is devoted to a repeat 
on the closing sequences of the previous epi- 
sode. In the cast are Jack Mullhall. Frankie 
Darro, Lola Lane, fighting for their rights, and 
the villainy led by Edwin Maxwell and Jason 
Robards. At the moment it looks like a good 
selling bet for the exhibitor, hitting at the 
youngsters in his patronage. Each episode of 
12 runs approximately 20 minutes. 

Hollywood on Parade — No. 13 

( Paramount ) 
Fan Interest 

This should be an entertaining short subject 
for screen fans who like to see the stars of 
Hollywood in moments ot¥ the set. Shown in 
this number are Buster Crabbe, trying to ride 
a Texas longhorn steer ; with a novel method 
of introduction, the 13 Wanipas Baby Stars of 
1934, selected as budding star material, and 
several other personalities. Rates about on a 
par with others of this series. — Running time, 
10 minutes. 

Paramount Pictorial — No. 12 

( Paramount ) 

Only a fair number of the series, this sub- 
ject contains an interesting nature study of the 
tiny humming bird in action and at rest ; an 
amusing sartorial review of what the well- 
dessed Englishman will wear ; the application 
of the art of makeup to the feminine physiog- 
nomy, and another sequence of a noted composer 
of popular song hits shown in action, with his 
orchestra and vocally. A fair subject. — Running 
time, 10 minutes. 

Paramount Pictorial 
( Paramount ) 
Of Interest 

This, number 11 of the Pictorial series, holds 
the interest with a diversity of subjects, in- 
cluding an interesting photographic description 
of the methods of making the perfect lenses used 
in the all-important microscope, and the rendi- 
tion, by Ralph Rainger, of certain of his own 
more popular song successes of the day. The 
subject should be found of general interest. — 
Running time, 10 minutes. 

Says Campaign Is 
Challenge to Women 

The purification of motion pictures pre- 
sents a challenge to Catholic women the 
country over that is worthy of "their best 
thought and action," Mrs. Harry LeBerge, 
vice-president of the National Council of 
Catholic Women, said before a luncheon in 
Portland, Ore., in honor of Archbishop Ed- 
ward D. Howard last week. 

"The movies constitute a menace to 
morals, homes and good government, and 
their salacious and obscene advertising on 
our billboards would make even a pagan 
blush. Movie producers must be taught 
through their cash registers that the public 
will not tolerate indecent films." 

Fears $3,000,000 Loss 

P. J. Wood, secretary of the Independent 
Theatre Owners of Ohio, said last week he 
estimates that if the move against salacious 
pictures keeps only 10 per cent of the peo- 
ple of Ohio away from theatres, the loss to 
exhibitors of the state will be in excess of 
$3,OnO,000 annuallv. 


Produced by Winfield Sheehan 

Directed by John Ford 
Story and screen play by Reginald Berkeley 


Film Daily: "Will give any fan his money's worth, even at road- 
show prices. Invested with wide appeal. Ranges from languorous 
smoothness in the love scenes to rapid-fire action." N. Y. American: 
"A notable addition to cinema's best ... an important event in the 
annals of motion picture history. A deeply stirring tale. Madeleine 
Carroll's is a deeply stirring performance." New York Daily News: 
"a lavish production, made on a grand scale with beautiful 
sets and fine photographic effects." N. Y. Daily Mirror: "Massive 
and spectacular film . . . magnificent drama . . . stirring and 
impressive love story . . . told with clarity and brilliance. 
Madeleine Carroll gives another sensitive and fine performance." 
N.Y. Evening Journal: "Lovely, talented Madeleine Carroll 
makes her American debut an effective one. Filmed 
on a lavish scale." N. Y. World-Telegram: "Splendidly 
done. One of the most lavish and well-acted of the S 
chronicle films ... a sterling and sympathetic exhibit. . . 
poignant and realistic." N.Y. Sun: "An ambitious under- 
taking. ..has plenty to offer as entertainment. Its pres- 
ence at the Criterion augurs well for the new season. 
Hollywood has produced another epic." ^ 


—New York Sun 



New York 




Produced by Sol M. Wurtzel 

Based on play "Merry Andrew" by Lewis Beech. 
Screen play by William Conselman and 
Henry Johnson. Adaptation by Kubec Glasmon. 

Directed by David Butler 

and you'll know what 
many exhibitors have 
SEEN for themselves! 

''Sure-fire attraction for millions. There is every 
reason to anticipate 'David Harum' business/' 

— Motion Picture Herald 

"Among the most enjoyable of Will Rogers' pictures 
. . . particularly strong on comedy." ~ Film Daily 

"Keeps the laughs rolling with gags and situations." 

— Variety Daily 

"Down-to-earth, wholesome, homespun . . . with 
many laughs. Fast on the heels of 'David Harum'." 

otion Picture Daily 



July 7 , 1934 


The tofal of theatre receipts tor the calendar week ended June 30, I93'4, from 
103 houses In 19 major cities of the country, reached $930,184, a decrease of 
$102,783 from the total for the preceding calendar week, ended June 23, when 106 
theatres in 19 cities reported an aggregate gross of $1,032,967. 

(Copyright, 1934: 



Boston 2,900 25c-50c 

Fenway 1,800 30c-50c 

Keith's 3.SO0 30c-50c 

Loew's State ... 3,700 35c-50c 

Metropolitan .... 4,350 30e-65c 

Paramount 1,800 30c-50c 


Bu0alo 3,500 30c-S5c 

Century 3,000 25c 

Hippodrome 2,100 25c-40c 

Hollywood 300 2Sc-40c 

Lafayette 3,300 



Chicago 4,000 35c-68c 

McVicker's 2,284 30c-60c 

Oriental 3,940 25c-40c 

Palace 2,509 35c-75c 

Roosevelt 1,591 2Sc-5ec 

State -Lake 2,776 20c -35c 

United Artists .. 1,700 30c-60c 


Allen 3,300 20c-40c 

Hippodrome 3,800 30c-44c 

RKO Palace .... 3,100 30c-44c 

State 3,400 30c-44c 

Stillman 1,900 20c-40c 

Warner's Lake... 800 30c-40c 


Aladdin 1,500 25c-50c 

Denham 1,500 15c-40c 

Denver 2,500 25c-50c 

Orpheum 2,600 25c -50c 

Paramount 2,000 25c-40c 



15c -50c 

. 5,100 


, 4,000 




35c -50c 

United Artists 

. 2,000 

25c- 50c 

Reproduction of material from this department without credit to Motion Picture Herald expressly forbidden) 

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Previous Week 


"Countess of Monte Cristo" (U.).. 
and "Whirlpool" (Col.) 

"Now I'll Tell" (Fox) and 

"Smarty" (W. B.) 





"Life of Vergie Winters" (Radio) 20,000 

"Operator 13" (MGM) 21,000 

"Shoot the Works" (Para.).. 

"Now I'll Tell" (Fox) and 

"Smarty" (W. B.) 


'Life of Vergie Winters" (Radio) 12,600 

'Ever Since Eve" (Fox) and 5,000 

"Smarty" (W. B.) 

"Uncertain Lady" (U.) and 19,000 

"Orders Is Orders" (Gaumont-British) 
"The Merry Frinks" (F. N.) and.. 8,000 
"Fog Over Frisco" (F. N.) 

"Baby Take a Bow" (Fox) 18,000 

"The Thin Man" (MGM) 20,000 

"The Great Flirtation" (Para.).... 31,000 

"The Merry Frinks" (F. N.) and.. 9,000 
"Fog Over Frisco" (F. N.) 

'^Many Happy Returns" (Para.).. 14,000 

"The Merry Frinks" (F. N.) and 5,800 
"Sorrell and Son" (U. A.) 

"Operator 13" (MGM) 6,100 "Mandalay" (F. N.) 5,900 

"The Constant Nymph" (Fox) and 400 
"Heart .Song" (Fox) 
(2nd week) 

"The Black Cat" (U.) and 7,400 

•The Poor Rich" (U.) 

'Many Happy Returns" (Para.).. 35,000 

•Fog Over Frisco" (F. N.) 8,500 

"You're Telling Me" (Para.).... 20,0CO 

•Strictly Dynamite" (Radio) 26,000 

•Little Miss Marker" (Para.) 8,000 

"All Men Are Enemies" (Fox).... 12,000 

"Operator 13" (MGM) 17,000 

"Half a Sinner" (U.) 2,800 

(3 days) 
'•The Black Cat" (U.) 

(4 days) 

"The Circus Clown" (F. N.) 4,100 

"Cockeyed Cavaliers" (Radio).... 7,500 

"Operator 13" (MGM) 14,000 

"Private Scandal" (Para.) and.. 3,000 
"City Limits" (Monogram) 

"The Party's Over" (Col.) and.. 2,000 
"Crime of Helen Stanley" (Co!.) 

"The Merry Frinks" (F. N.).... 2,000 

"The Great Flirtation" (Para.).. 1.200 
(4 days) 

"The Thin Man" (MGM) /.OOO 

"The Crime Doctor" (Radio) 4,500 

"Now I'll Tell" (Fox) 900 

(3 days) 

"Sisters Under the Skin" (Col.).. 1,100 
and "Whirlpool" (Col.) 
(4 days) 

"The Thin Man" (MGM) 6,800 

"Life of Vergie Winters" 28,200 


"Smarty" (W. B.) 21,800 

"Stolen Sweets" (Chesterfield).... 3,600 

"The Constant Nymph" (Fox) and 1,100 
"Heart Song" (Fox) 
(1st week) 

"Little Man, What Now?" U.).... 7,900 

"Little Miss Marker" (Para.).... 36,000 

"The Key" (W. B.) 8,500 

"Merry Wives of Reno" (W. B.) 17,000 

"Cockeyed Cavaliers" (Radio) 30,000 

"Little Man, What Now?" (U.).. 8,000 

"Three on a Honeymoon" (Fox).. 12,000 

"Now I'll Tell" (Fox) 15,000 

"I'll Tel! the World" (U.) 3,000 

"The Key" (W. B.) 6,500 

"Smarty" (W. B.) 13,500 

"Little Miss Marker" (Para.).... 10,000 

"Double Door" (Para.) and 3.000 

"Love Past Thirty" (Freuler) 

"The Merry Frinks" (F. N.) and.. 1,500 
"The Morning After" (Majestic) 

"Half a Sinner" (U.) 1,200 

(6 days) 

"Many Happy Returns" (Para.).. 7,500 

"Twentieth Century" (Col.) 8,500 

"The Hollywood Party" (MGM).. 4,500 

"Crime of Helen Stanley" (Col.) 700 
and "Social Register" (Col.) 
(3 davs) 

"Now I'll Tell" (Fox) 1,300 

(4 days) 

"The Merry Frinks" (F. N.) 7,900 

"Baby Take a Bow" (Fox) 19,800 

"The Thin Man" (MGM) 15,600 

High and Low Gross 

(Tabulation covera period (ram January, 1»33.) 

High 1-13-34 "Fog" 

Low 3-11 "Topaze" 

High 1-14 "Island of Lost Souls" and ) 

"Billion Dollar Scandal" J 
Low 7-29 "She Had to Say Yes" and 1 
"Arizona to Broadway" ) 

High 12-2 "Little Women" 

Low 3-11 "When Strangers Marry".... 

High 1-7 "Strange Interlude" 

Low 3-11 "Men Must Fight" 

High 11-4 "I'm No Angel" 

Low 3-11 "King of the Jungle" 

High 2-2S "Dangerously Yours" and 1 

"Deception" ) 
Low 6-30-34 "Now I'll Tell" I 
and "Smarty" j 

"Dancing Lady" 

"Our Betters" 

34 "The Lost Patrol" and ) 
"Three on a Honeymoon" f 
"Solitaire Man" and 1 
"Day of Reckoning" ( 
34 "The House of Rothschild" 
"Moonlight and Pretzels".... 

"Goona Goona" 

"Night and Day" 

High 12-9 
Low 3-25 
High 4-21- 

Low 12-16 

High 5-19- 
Low 8-26 
High 1-7 ' 
Low 11-25 

High 3-10-34 "It Happened One Night" ) 
and "Before Midnight" ) 
Low 12-23 "Myrt and Marge" 

High 9-2 "Goodbye Again" 

Low 4-29 "Central Airport" 

High 4-14-34 "Wonder Bar" 

Low 7-1 "The Woman I Stole" 

High 10-14 "I'm No Angel" 

Low 12-16 "A Man's Castle" 

High 9-9 "Morning Glory" 

Low 4-28-34 "Glamour" 

High 10-14 "Penthouse" 

Low 3-4 "Luxury Liner" 

High 1-13-34 "Goodbye Love" 

Low 2-18 "Lucky Devils" 

High 5-5-34 "The House of Rothschild" 
Low 3-18 "Perfect Understanding" 

High 11-11 "Private Life of Henry VIII" 
Low 3-4 "Infernal Machine" and ) 
"Exposure" j 

High 10-21 "East of Fifth Avenue".... 

Low 6-10 "Circus Queen Murder" 

High 3-3-34 "It Happened One Night".. 
Low 8-19 "No Marriage Ties" 

High 8-19 "Tugboat Annie" 

Low 6-24 "The Eagle and the Hawk" 

High 10-28 "I'm No Angel" 

Low 11-18 "Stage Mother" and ) 
"Hell and High Water" J 

High 10-28 "Footlight Parade" 

Low 6-23-34 "The Merry Frinks" and | 

"The Morning After" 

High 2-25 "Cavalcade" ..... 

Low 6-23-34 "Half a Sinner" 

(6 days) 
High 10-28 "I'm No Angel" 

•Gambling Lady" (W. B.) 7,300 "Little Man, What Now?" (U.).. 7,200 

Low 6-3 "Mussolini Speaks," "Night of ) 
Terror" and "Soldiers of the Storm" J 

High 1-13-34 "Roman Scandals" 

Low 12-16 "The World Changes" 

High 2-17-34 "Hi, Nellie!" 

Low 6-10 "Zoo in Budapest" 

High 4-1 "The Kid From Spain" 

Low 4-7-34 "Ever Since Eve" and I 
"Son of Kong" ) 

High 1-28 "Silver Dollar" 

Low 3-18 "Secret of Madame Blanche" 

High 9-16 "Sing, Sinner, Sing" 

Low 5-15 "After the Ball" and ) 
"Afraid to Talk" j 

High 4-7-34 "Mystery of Mr. X" 

Low 7-1 "College Humor" 

High 10-14 "I'm No Angel" (5 days).. 
Low 5-5-34 "Sing and Like It" and ) 
"Keep 'Em Rolling" ) 
High 5-12-34 "The House of Rothschild" 
Low 3-25 "The Sign of the Cross" 

































July 7 , 1934 






Chinese 2,500 S0c-$1.6S 

Pantages 3,000 25c-40c 

W.B. Hollywood. 3,000 25c-5Sc 

Current Week 

Previous Week 






"The House of Rothschild" (U.A).. 

(nth week-3 days) 
"Little Man, What Now?" (U.)-- 3,100 

(2nd week) 

'A Modern Hero" (W. B.), 


Apollo 1,100 

arcle 2,800 

Lyric , 






(Fox) . 



"Baby Take a Bow' 

(2nd week) 
"Dr. Monica" (W. B.) 3.500 

"Affairs of a Gentleman" (U.) .... 9,000 
(8 days) 

"Operator 13" (MGM) 4,000 

Kansas City 

Mainstreet 3,049 

Midland 4,000 

Newman 1,800 

Tower 2,200 

Uptown 2,000 

Los Angeles 

25c "Life of Vergie Winters" (Radio).. 7,000 
(7 days and Sat. late show) 




"The Show-Off" (MGM)... 

(7 days and Sat. midnite show) 
"Here Comes the Groom" (Para.) 
and "The Key" (W.B.) 

(7 days and Sat. late show) 
"Affairs of a Gentleman" (U.) 

(7 days and Sat. midnite show) 
"Now I'll Tell" (Fox) 






(3 days) 

"Island of Doom" (Amkino) 


(4 days) 

Loew's State . . . 



"Manhattan Melodrama" (MGM). 




"Shoot the Works" (Para.) 




"Finishing School" (Radio) 


W. B. Downtown 



"A Modern Hero" (W. B.) 



Century 1,650 25c-40c 

Lyric 1.238 20c-25c 

Minnesota 4,000 25c-50c 

RKO Orpheum... 2,900 25c-SOc 

State 2,300 2Sc-40c 

World 400 2Sc-75c 


Capitol 2,547 25c-60c 

Imperial 1,914 2Sc-50c 

Loew's 3,115 25c-65c 

Palace 2,600 25c-7Sc 

Princess 2,272 25c-65c 

New York 

Capitol 4,700 35c-$1.65 

Mayfair 2,300 35c-85c 

Palace 2,500 25c-7Sc 

Paramount 3,700 35c-99c 

RKO Center ... 3,700 2Sc-55c 

RKO Music Hall 5,945 35c-$1.65 

Roxy 6,200 25c-5Sc 

Strand 3,000 25c-$1.10 

"Many Happy Returns" (Para.).. 

"The Hollywood Party" (MGM).. 

"Dr. Monica" (W. B.) 

"Life of Vergie Winters" (Radio) 

"Little Miss Marker" (Para.) 

"Catherine the Great" (U. A.).... 
(5th week) 


"Little Miss Marker" (Para.) and 9,000 
"Many Happy Returns" (Para.) 

"His Private Secretary" (Show- 6,000 
mens) and "Found Alive'' (Ideal) 

"The Black Cat" (U.) and 7,000 

"Uncertain Lady" (U.) 

"The Thin Man" (MGM) and.... 9,000 
"Beggars in Ermine" (Monogram) 

"Stingaree" (Radio) and 6.000 

"Aggie Appleby" (Radio) 

"Operator 13" (MGM) 34.000 

"Half a Sinner" (U.) 3,200 

"Life of Vergie Winters" (Radio) 11,000 

"The Great Flirtation" (Para.).. 17,500 
(6 days) 

"Murder at the Vanities" (Para.) 4,000 
(4 days) 

"Such Women Are Dangerous".... 

(Fox) (3 days) 

"Let's Try Again" (Radio) 61.000 

"Affairs of a Gentleman" (U.).. 13,700 

"Dr. Monica" (W. B.) 15,815 

"The House of Rothschild" (U.A.) 7,560 
(3 days ending 10th week) 

"Little Man, What Now?" (U.).. 3,200 
(1st week) 

"The Merry Frinks" (F. N.) 9,000 

"Baby Take a Bow" (Fox) 3,250 

(1st week) 

"Twentieth Century" (Col.) 4,000 

"He Was Her Man" (W. B.).... 4,500 
(6 days) 

"The Thin Man" (MGM) 4,500 

"Glamour" (U.) 23,00? 

(7 days and Sat. late show) 

"Operator 13" (MGM) 12,000 

(7 days and Sat. midnite show) 

"Many Happy Returns" (Para.) and 6,400 
"I Believed in You" (Fox) 

(7 days and Sat. late show) 

"Upper World" (W. B.) 6,400 

(7 days and Sat. midnite show) 

"Little Man, What Now?" (U.) 3,500 

(2nd week-8 days) 

"No Greater Glory" (Col.) 600 

(3rd week) 

"Sadie McKee" (MGM) 15,407 

"Here Comes the Groom" (Para.).. 17,425 

"Stingaree" (Radio) 11,000 

(2nd week) 

"The Merry Frinks" (F. N.).... 8,000 

"All Men Are Enemies" (Fox).. 4,000 

"Looking for Trouble" (U.A.).... 1,500 

"Change of Heart" (Fox) 8,000 

"The Circus Clown" (F. N.) 6,750 

"Manhattan Melodrama" (MGM) 5,500 

"Catherine the Great" (U. A.).. 2,500 
(4th week) 

"Manhattan Melodrama" (MGM).. 9,500 
and "Harold Teen" (W. B.) 

''Wine, Women and Song" (Chad- 6,500 
wick) and "Pride of the Legion" 

"Journal of a Crime" (F.N.) and 8,000 
"Come On, Marines" (Para.) 

"The Hollywood Party" (MGM).. 9,000 
and "Mandalay" (F. N.) 

"Hi, Nellie!" (W. B.) and 6,000 

"Convention City" (F. N.) 

"Men in White" (MGM) 35,200 

(2nd week) 

"Private Scandal" (Para.) 7,800 

"Murder at the Vanities" (Para.) 15,500 

"Here Comes the Groom" (Para.) 18,500 

"Now I'll Tell" (Fox) 11,800 

(4 days) 
"Where Sinners Meet" (Radio) 

(3 days) 

"Life of Vergie Winters" (Radio) 67,000 

"Let's Talk It Over" (U.) 16,200 

"Fog Over Frisco" (F. N.) 11,425 

(2nd week) 

High and Low Gross 

(Tabulation covers period from January, MSI.) 

High 9-9 "Dinner at Eight" 36,656 

Low 4-1 "King Kong" 14,600 

High 1-7 "Handle With Care" 13,000 

Low 3-3-34 "Fugitive Lovers" and ) 

"The Poor Rich" J 1,500 

High 3-25 "42nd Street" 26.000 

Low 1-27-34 "The Big Shakedown".... 7,000 

High 2-18 "State Fair" 7,000 

Low 6-16-34 "Wild Gold" 2,000 

High 8-19 "She Had to Say Yes" 12,000 

Low 3-4 "The Sign of the Cross" 2,500 

(2nd run) 

High 7-22 "CoUege Humor" 9,500 

Low 11-11 "Saturday's Millions" 3,000 

High 2-3-34 "Sons of the Desert" 12.500 

Low 6-16-34 "Sorrell and Son" 3,500 

High 6-23-34 "Glamour" 23,000 

Low 5-20 "Sweepings" 4,006 

High 1-7 "Strange Interlude" 30,000 

Low 4-15 "Perfect Understanding" ... 4,900 

High 10-21 "I'm No Angel" 20.000 

Low 5-27 "Picture Snatcher" 2,800 

High 6-23-34 "Upper World" 6,400 

Low 5-5-34 "Let's Fall in Love" 4,000 

High 1-6-34 "Mr. Skitch" 8,500 

Low 7-1 "Lilly Turner" 1,600 

High 4-14-34 "Moon Over Morocco" .... 7,600 

Low 6-30-34 "Shame" and I. 

"Island of Doom" ) 360 

High 4-7-34 "Riptide" 28,500 

Low 2-24-34 "Coming Out Party" 4,870 

High 1-7 "No Man of Her Own" 30,000 

Low 3-18 "King of the Jungle" 10,000 

High 3-31-34 "Little Women" 15,508 

Low 9-30 "Brief Moment" 1.700 

High 3-25 "42nd Street'/ 19,000 

Low 6-2-34 "Merry Wives of Reno" ) 

and "Harold Teen" ) 5,000 

High 4-22 "Secrets" 5,500 

Low 3-11 "Secret of Madame Blanche" 2,500 

High 4-1 "20,000 Years in Sing Sing".. 3,000 

Low 11-11 "I Loved a Woman" 1,000 

High 11-11 "I'm No Angel" 10,000 

Low 2-3-34 "Eskimo" 7.000 

High 1-7- "Animal Kingdom" 14,000 

Low 3-11 "Cynara" 3,000 

High 4-29 "Cavalcade" 8,000 

Low 3-11 "King of the Jungle" 3,500 

High 5-5-34 "Private Life of Henry VIII" 4.300 
(5th week) 

Low 11-25 "Vi Som Gar Koksvagen".. 1,000 

High 2-24-34 "Queen Christina" 13,500 

Low 12-23 "Havana Widows and ) 

"Ever in My Heart" ( 7,500 

High 6-23-34 "Wine, Women and Song" ) 

and "Pride of the Legion" ) 6,500 

Low 7-8 "Les Bleus d'Amour" 1,500 

High 1-21 "The Mask of Fu Manchu".. 14.500 

Low 6-30-34 "The Black Cat" and ) 7.000 

"Uncertain Lady" | 

High 2-18 "The Sign of the Cross"... 15,500 
Low 6-2-34 "20 Million Sweethearts" 1 

and "Secrets of a Registered Nurse" J 8,590 
High 1-7 "The Kid From Spain" and ( 

"Speed Demon" | 12,000 
Low 12-23 "Sing, Sinner, Sing" and I 

"The Chief" f 5.000 

High 4-7-34 "Riptide" 63,373 

Low 2-10-34 "You Can't Buy Everything" 15,500 

High 1-7 "The Half Naked Truth".... 24.750 

Low 6-30-34 "Half a Sinner" 3,200 

High 2-4 "Animal Kingdom" 16,150 

Low 4-15 "Parole Girl" 4,500 

High 10-21 "I'm No Angel" 83,450 

Low 2-4 "Hello, Everybody" 15,606 

High 1-7 "Animal Kingdom" 71,267 

Low 6-.?0-34 "Murder at the Vanities" ) 

"Such Women Are Dangerous" } 4,000 

High 11-25 "Little Women" 109,000 

Low 6-17 "Ann Carver's Profession" 44,938 

High 11-25 "The Invisible Man" 42,000 

Low 1-28 "Air Hostess" 9,100 

High 10-14 "Footlight Parade" 55,190 

Low 12 23 "Sin of Nora Moran" 6,850 



July 7 , 1934 



Oklahoma City 

Capitol 1,200 10c-41c 

Criterion 1,700 10c- 56c 

Liberty 1,500 10c-36c 

Midwest 1,500 10c-56c 

Current Week 


"Looking for Trouble" (U. A.)... 
"Life of Vergie Winters" (Radio). 



"Black Moon' 
(4 days) 

"Sweetheart of Sig'ma Chi" 1,200 

(Monogram) (3 days) 
"Little Miss Marker" (Para.) 3,600 

Previous Week 

Gross Picture 

"Many Happy Returns" (Para.).. 2.500 

"Operator 13" (MOM) 4,200 

"The Black Cat" (U.) 2,100 

(4 days) 

"Sleepers East" <Tox) 1,800 

(3 days) 

"Dr. Monica" (W. B.) 3,500 

High and Low Gross 

GroM (Tabulation covers period from January, 1933.) 

High 1-6-34 "Going Hollywood" 4,1U8 

Low 3-11 "From Hell to Heaven" 1,350 

High 11-18 "College Coach" 11,008 

Low 3-11 "Qear All Wires" 1,800 

High 6-16-34 "Half a Sinner" and ) 

"Uncertain Lady" J 5,000 
Low 3-18 "The Death Kiss" and 1 

"The Fourth Horseman" ) 1,100 

High 2-25 "State Fair" 8,500 

Low 3-11 "Employees' Entrance" 1,400 



1.200 25c-3Sc 

'Life of Vergie Winters" (Radio) 4,800 

'Where Sinners Meet" (Radio) and 5,500 
'The Circus Clown" (F. N.) 

High 11-18 "One Man's Journey" 10.750 

Low 12-30 "The World Changes" and 1 

"Havana Widows" ) 3,501 

Orpheum 3,000 25c-40c 

Paramount 2,900 2Sc-40c 

World 2,500 25c-35c 

'Many Happy Returns" (Para.) and 7,200 

"A Modern Hero" (W. B.) 

"Little Man, What Now?" (U.).. 6,500 

'Born to Be Bad" (U. A.) 5,250 

'The Black Cat" (U.) and 7,000 

'The Hollywood Party" (MGM) 

'Operator 13" (MGM) 7,800 

"Now I'll Tell" (Fox) 6,750 

High 3-10-34 "Easy to Love" 17^50 

Low 4-29 "Sweepings" 5,000 

High 7-22 "Gold Diggers of 1933" 13,250 

Low 2-24-34 "Six of a Kind" and ) 

"Good Dame" J 5,250 

High 6-3 "Peg C My Heart" and ) 

"Perfect Understanding" t 7,500 
Low 5-19-34 "As the Earth Turns") 

and "Smoky" J 3,250 


Arcadia 600 25c-50c 

Boyd 2,400 40c-65c 

Earle 2,000 40c-65c 

Fox 3,000 30c-60c 

Karlton 1,000 30c-50c 

Stanley 3.700 40c-6Sc 

Stanton 1.700 30c-S5c 

'Thirty Day Princess" (Para.).. 1,800 
(6 days) 

'Where Sinners Meet" (Radio).... 8,000 
(6 days) 

"The Personality Kid" (W. B.).. 11,500 
(6 days) 

"She Learned About Sailors" (Fox) 15.000 
(6 days) 

"Private Scandal" (Para.) 2,500 

(6 days) 

"The Thin Man" (MGM) 10,500 

(6 days) 

"The Black Cat" (U.) 5,500 

(6 days) 

"The Witching Hour" (Para.) 1,200 

(5 days) 

"Stingaree" (Radio) 9,000 

(6 days) 

"Return of the Terror" (W.B.).. 12,000 
(6 days) 

"Call It Luck" (Fox) 22,000 

(6 days) 

'Finishing School" (Radio) 2.200 

(6 days) 

"Operator 13" (MGM) 9,500 

(6 days) 

"Born to Be Bad" (U. A.) 5.000 

(6 days) 

High 1-6-34 "Duck Soup" (7 days).... 6,500 

Low 6-2-34 "The Trumpet Blows" 1,500 

High 1-6-34 "Little Women" 30,000 

Low 6-30-34 "Where Sinners Meet".... 8,000 

High 4-7-34 "Harold Teen" 40.000 

Low 10-21 "Saturday's Millions" 10.000 

High 4-22 "C:avalcade" 29,000 

Low 8-5 "F. P. 1" 13.000 

High 4-8 "42nd Street" 7,700 

Low 6-23-34 "Finishing School" 2,200 

High 11-25 "I'm No Angel" 32,500 

Low 6-16-34 "The Key" 8,500 

High 6-3 "The Little Giant" 10,000 

Low 7-14 "I Love That Man" 4.000 

Portland, Ore. 

Broadway 1,912 2Sc-40c 

Music Box 3,000 25c-40c 

Oriental 2,040 25c 

Pantages 1,700 15c-25c 

Paramount 3,008 25c-40c 

United Artists .. 945 2Sc-40c 

"Registered Nurse" (F. N.) 5.400 

"Half a Sinner" (U.) 4,000 

"Glamour" (U.) 2,500 

"Curtain at Eight" (Majestic).... 1,700 

"Now I'll Tell" fFox) and 4,000 

"Springtime for Henry" (Fox) 

"Looking for Trouble" (U. A.).. 5,000 

"The Hollywood Party" (MGM).. 3,900 

"Strictly Dynamite" (Radio) 2,800 

"Upper World" (W. B.) and 1,900 

"Uncertain Lady" (U.) 

"Monte Carlo Nights" (Monogram) 1,800 

"Little Miss Marker" (Para.) and 6,000 
"Sisters Under the Skin" (Col.) 

"Operator 13" (MGM) 4.500 

High 4-7-34 "Wonder Bar" 13,000 

Low 3-11 "Whatl No Beer?" 3,500 

High 12-9 "Little Women" 14,000 

Low 5-13 "No More Orchids" 1,600 

High 10-14 "Rafter Romance" 14,000 

Low 11-18 "College Coach" 1,600 

High 11-4 "Lady for a Day" 10,200 

Low 4-21-34 "Laughing at Life" 1,500 

High 11-18 "The Way to Love" 12,000 

Low 12-2 "Walls of Gold" 3,500 

High 4-28-34 "The House of Rothschild" 9,800 

Low 3-11 "Madame Butterfly" 1,600 

San Francisco 

Fox 4.600 10c-35c 

Golden Gate .... 2.800 25c-40c 

Orpheum 3,000 15c-40c 

Paramount 2.670 15c-65c 

St. Francis 1,400 15c-65c 

Warfield 2,700 2Sc-65c 


Blue Mouse 950 15c-35c 

Fifth Avenue .. 2.750 25c-55c 

Liberty 2,000 10c-2Sc 

Music Box 950 25c-50c 

Music Hall 2,275 25e-55c 

Paramount 3.ffj0 25c-35c 

"Black Moon" (Col.) and 6,500 

"Big Time or Bust" (Tower) 

"Strictly Dynamite" (Radio) 19,000 

"AfTairs of a Gentleman" (U.) and 5,000 
"Orders Is Orders" (Gaumont-British) 

"Many Happy Returns" (Para.).. 8,500 
and "Side Streets" (F. N.) 

"The Thin Man" (MGM) 8,500 

(2nd week) 

"Little Miss Marker" (Para.).... 22,500 

"Murder on the Blackboard" 2,750 

(Radio) and "Double Door" (Para.) 

"Murder at the Vanities" (Para.) 6,000 

"No Greater Glory" (Col.) 3,750 

"Born to Be Bad" (U. A.) 3,250 

"Little Man, What Now?" (U.).. 5,500 

"Such Women Are Dangerous".. 5,000 

"Take the Stand" (Liberty) and.. 6.000 
"Loud Speaker" (Monogram) 

"Let's Talk It Over" (U.) 16,000 

"Where Sinners Meet" (Radio) 9,000 

"He Was Her Man" (W. B.) and 9.000 
"Call It Luck" (Fox) 

"The Thin Man" (MGM) 7.500 

(1st week) 

"Dr. Monica" (W. B.) 20,300 

"The Trumpet Blows" (Para.) and 2.800 
'Afifairs of a Gentleman" (L^.) 

"Manhattan Melodrama" (MGM).. 7,500 
(8 days) 

"Shadows of Sing Sing" (Col.) and 3,400 

"Dynamite Ranch" (U.) 

"Where Sinners Meet" (Radio).. 3,500 

"Stingaree" (Radio) 4,500 

(6 days) 

"The Hollywood Partv" rMGM).. S,203 

High 4-8 "Should a Woman Tell?" I 

and "Speed Demon" J 15,500 
Low 6-16-34 "The Hell Cat" I 

and "Stolen Sweets" ) 5,500 

High 2-11 "The Mummy" 25,500 

Low 10-21 "My Woman" 8,000 

High 6-9-34 "Sing and Like It" 19,500 

Low 6-30-34 "AfTairs of a Gentleman" \ 

and "Orders Is Orders" j 5,000 

High 10-28 "I'm No Angel" 40,000 

Low 12-23 "Sitting Pretty" 7.000 

High 3-25 "Whatl No Beer?" and ) 

"Broadway Bad" f 13,500 
Low 4-14-34 "Registered Nurse" and 1 

"Murder in Trinidad" ] 3,500 

High 1-6-34 "Dancing Lady" 26,000 

Low 5-27 "Story of Temple Drake" 10,000 

High 12-9 "Little Women" 8,500 

Low 8-19 "The Rebel" 2,500 

High 8-5 "Tugboat Annie 19,250 

Low 5-5-34 "'Tarzan and His Mate" 5,000 

High 3-3-34 "It Happened One Night" 7,000 

Low 6-24 "Uptown New York" 3,000 

High 11-11 "FootUght Parade" 8.000 

Low 6-16-34 "The Black Cat" 2,900 

High S-26-34 "Wild Cargo" 11,500 

Low 6-23-34 "Stingaree" (6 days) 4,500 

High 1-7 "A Farewell to Arms" 9,500 

Low 1-13-34 "Dancing Lady" (2nd run) 4.000 






WANDA HALE in N. Y. DAILY NEWS (four stars *★*★) 

Yesterday's premiere audience at the Music Hall broke out in unrestrained applause. Radio Pictures 
has turned out in "Oi Human Bondage" a picture that is at once absorbing, intense and convincing. 
Such a piece of filmcraft certainly could not have been turned out with any actor of less brilliance than 
Leslie Howard, who invests his role with a sympathy and an understanding that fit almost exactly the 
fine and sensitive demands of the W. Somerset Maugham classic . . . here we find Bette Davis doing 
a job that is so revealing as to make one ask, "Where's that girl been all this while?". . . deserved glory. 


The milling throngs that stormed the Radio City Music Hall yesterday attested to the fact that a 
Hollywood hero does not necessarily have to be an Adonis or a crooner to succeed. Leslie Howard 
has made an indelible impression on the minds of men and the hearts of women . . . the film is a ' 
poignant portrait, sympathetically treated by Director John Cromwell and glossed by the polished 
performances of an unusually fine cast. j 


Leslie Howard must certainly be the most satisfying actor on the English-speaking stage. There is a 
splendid air of rightness about everything he does. Thereupon, the mere fact of his appearance in I 
the screen edition of that brilliant novel, "Of Human Bondage", provides the picture with dignity, 
power and dramatic effectiveness. As a photoplay, "Of Human Bondage" is definitely superior to 
the average . . . well written . . . good photoplay, made something more than that by Mr. Howard's j 
perfect performance. j 


A dignified, sensitive, eminently satisfying screen treatment has been accorded "OfHu man Bondage". | 
W. Somerset Maugham's magnificent story . . .the film now on view at the Radio City Music Hall 
emerges a distinguished contribution to the cinema . . . adapted by Lester Cohn with such fine ap- | 
preciation for the muted sorrow that is hidden in the novel's pages . . . that it has, as precious few | 
films can claim to have, a true beauty in its writing. John Cromwell has dope an extra fine job of 
direction, and the performances are excellent. Leslie Howard comes off with the first honors. 











, . , N. y. DAILY NEWS 


A brilliantly acted Film version oF the Maugham novel. 

Miss Davis will astound you ... a dramatic character actress of overwhelming power. Touching 
and infinitely tender, it is a simple description of a devastating fascination. Leslie Howard's per- 
formance is exquisite. He plays it with his usual warmth, tenderness and understanding. 


The very lifelike quality of the story and the marked authenticity of its atmosphere cause the specta- 
tors to hang on every word uttered by the interesting group of characters . . . one might be tempted to 
say that his portrait of Philip Carey excels any performance he has given before the camera. No more 
expert illustration of getting under the skin of the character has been done in motion pictures. 

Another enormously effective portrayal is that of Bette Davis . . . outburst of applause when the 
film came to an end. John Cromwell, the director, has given many a subtle and imaginative touch 
to his scenes. There is nothing stereotyped about this film. 


Once in a while it happens that a fine book may become a Fine picture. Of Somerset Maugham's 
modern classic, "OF Human Bondage", be it gratefully recorded, this is true. 

Adaptor Lester Cohen, and director John Cromwell, have treated the book with honesty and vigor. 

Leslie Howard, of course, is perfectly cast . . . Bette Davis's portrayal of the tawdry Cockney 
waitress, a performance as humorous as it is powerful, was something of a surprise. This Miss Davis 
is an actress rather than a screen beauty in this difficult part. It is, this "Of Human Bondage", a 
picture to be seen. 


In transferring "Of Human Bondage" to the screen, director John Cromwell and adaptor Lester 
Cohen have done well . . . with intelligent understanding, those responsible for the picture have 
made it a sombrely interesting narrative. Bette Davis sheds the artificiality of her previous parts, 
and her portrait of the tawdry waitress, Mildred, is excellent even to her Cockney accents . . , 
yesterday noon's Music Hall audience broke into enthusiastic applause. 

The picture is handsomely mounted and was obviously filmed with a great deal of care and thought 








* * * * 




[long may they rave] 






NOAH BEERY. . Direcfed by Mark Sandrich 

Music and Lyrics by Will Jason and Val Burfon 
* * * * 

A tayle of ye old tyme chivairie that 
doth make the bellie shake with 
comick happenings. ..doth soothe 
the opticks with merrie maidens, 
and comely queenes and tickles 
the ear with gay musick. 

Youll Be Hearing It Soon I . . . You 11 Be oeeing it ooon! . . 



July 7, 1934 





BEFORE MIDNIGHT: Ralph Bellamy— Just fair 
•mystery. Okay where mysteries are liked; not so 
good here, though. Running time, seven reels. Played 
May 15-16.— C. V. Hunerberg, Princess Theatre, Park- 
«rsburg, Iowa. General patronage. 

Jones rings up another score. Plenty of action and a 
good family picture. Played 18-19 on Family Nights.— 
Earl J. McClurg, Grand Theatre, Preston, Idaho. Small 
town and rural patronage. 

FIGHTING RANGER, THE: Buck Jones— Excellent 
western with plenty of action. Should satisfy those 
who are looking for such. Played June 15-16. — J. C. 
Darst, Dante Theatre, Dante, Va. General patronage. 

HELL CAT, THE: Robert Armstrong, Ann Suth- 
ern — This is a mighty good entertaining newspaper 
story. Ann Sothern is fine and Robert Armstrong is 
always good. The whole cast is good. I call it better 
than the average program picture. Our patrons men- 
tioned it. Played June 21-22.— Bert Silver, Silver Fam- 
ily Theatre, Greenville, Mich. Town and country pat- 

IT HAPPENED ONE NIGHT: Clark Gable, Claud 
ette Colbert — Marvelous entertainment. Did a grand 
business and first picture ever to run five days in 
my town. Give it all the best playing time you can 
and it will surely bring them in. — Earl J. McClurg, 
Grand Theatre, Preston, Idaho. Small town and rural 

IT HAPPENED ONE NIGHT: Claudette Colbert, 
Clark Gable — Nothing can be added to the praise of 
this picture from what has already been said by other 
exhibitors. Some came the second time to see it. 
Running time, 100 minutes. Played April 21-22.— C. V. 
Hunerberg, Princess Theatre, Parkersburg, Iowa. Gen- 
eral patronage. 

IT HAPPENED ONE NIGHT: Clark Gable, Claud- 
ette Colbert — One of the best pictures we have played 
this year. Has mass appeal. It's clean entertainment 
and a box-office success. Could have used it an extra 
day, which is very unusual for my town. Running 
time, 105 minutes. Played May 27-28.— Walter Bey- 
mer. Lido Theatre, Providence, Ky. Small town pat- 

Dorothy Appleby. Rex — Very good western. Played 
June 12-13.— Harold C. Allison, Baldwin Theatre, Bald- 
win, Mich. Small town patronage. 

MAN TRAILER, THE: Buck Jones— Good western. 
Westerns are always clean, hence extra patronage 
from the kids whose mothers pick their shows. — C. V. 
Hunerberg, Princess Theatre, Parkersburg, Iowa. 
General patronage. 

MAN'S CASTLE, A: Spencer Tracy, Loretta Young 
— This picture is absolutely unsuited to small towns. 
Columbia calls it a big special and it is anything 
but this. While the principals did excellent acting and 
the story might appeal to intellectuals, it does not 
draw and has no place in the small town theatre. It 
is not a picture for children. I am sorry I played it. 
It suffered several walkouts, something very unusual 
in my town. Running time, 73 minutes. — Mrs. G. C. 
Moore, American Theatre, Harlowton, Mont. Small 
town patronage. 

NO GREATER GLORY: Frankie Darro— A good 
picture of its kind with a four-star rating, but it 
meant nothing at the box-office. Played June 16-17. — 
C. V. Hunerberg, Princess Theatre, Parkersburg, 
Iowa. General patronage. 

ONE IS GUILTY: Ralph Bellamy, Shirley Grey- 
Good little family feature. Used it on my Wednesday 
and Thursday Family Nights and every one liked it 
very much. Played May 2-3.— Earl J. McClurg, Grand 
Theatre, Preston, Idaho. Small town and rural pat- 

SONG YOU GAVE MEl, THE: Bebe Daniels, Vic- 
tor Varconi— What a flop this is. Too much English 
in this one. No good old American community can 
take pictures of this type. Played April 25-26.— Earl 
J. McClurg, Grand Theatre, Preston, Idaho. Small 
town and rural patronage. 

THRILL HUNTER, THE: Buck Jones, Dorothy 
Revier— I didn't see this myself, but the cash box 
proved it didn't attract very many visitors. Played 
June 19-20.— Harold C. Allison, Baldwin Theatre, Bald- 
win, Mich. Small town patronage. 

TWENTIETH CENTURY: John Barrymore, Carole 
Lombard — What a wanton waste of effort. Any one 
who could sit through this idiotic thing should be 
given a free pass to theatres for the remainder of 
his life. Have never seen them walk out on a fea- 
ture so fast in my life. Every one was right astraddle 

IN this, the exhibitors' own de- 
partment, the theatremen of the 
nation serve one another with in- 
formation on the box office per- 
formance of product for their mu- 
tual benefit. It is a service of the 
exhibitor for the exhibitor. Address 
all communications to — 

17hat the Picture Did for Me 

1790 Broadway, New York 

of my neck. Poor John Barrymore will put himself 
right out of the game with another like this. Did a 
marvelous business first day, but comment was so 
unfavorable I put it on the shelf. Thank heaven we 
can do that.— Earl J. McClurg, Grand Theatre, Pres- 
ton, Idaho. Small town and rural patronage. 

WHAT PRICE INNOCENCE?: Willard Mack, Jean 
Parker — This type of picture would go over in a big 
town much better than in suburban houses because it 
appeals only to a certain class of people and as no 
one under 16 is allowed to see it you lose the younger 
element, and in lots of cases the parents who can't 
bring the kiddies do not come themselves. Running 
time, 65 minutes. Played May 28-29.— WiUiam A. 
Crute, Victoria Theatre, Vancouver, B. C. Neighbor- 
hood patronage. 

WHIRLPOOL: Jack Holt— Very good Holt pic- 
ture. I believe they are cutting out some of the smut 
in pictures. Okay, boys; keep up the good work. Run- 
ning time, eight reels. Played May 26-27. — C. V. Hun- 
erberg, Princess Theatre, Parkersburg, Iowa. General 

WHIRLPOOL: Jack Holt— Jack Holt gives us^ an- 
other fairly good little picture. Did a good business 
and pleased. Played April 11-12 on Family Nights. — 
Earl J. McClurg, Grand Theatre, Preston, Idaho. 
Small town and rural patronage. 

WRECKER, THE: Jack Holt, Genevieve Tobin— A 
fine action picture that would have gone over big 
here but for the fact that I ran it with "Wliat Price 
Innocence" and all young folk under 16 were excluded, 
so we sufifered accordingly. Running time, 75 minutes. 
Played May 28-29.— William A. Crute, Victoria The- 
atre, Vancouver, B. C. Neighborhood patronage. 

First Division 

ROAD TO RUIN: Helen Foster, Paul Page— A very 
nice show with business above expectations. I believe 
it will click in any house. — L. S. Gilligan, Tall Corn 
Theatre. Kanawha, Iowa. General patronage. 

ROAD TO RUIN: Helen Foster, Paul Page— Played 
to capacity shows and broke all midweek records in 
my theatre. People liked the picture and received 
many favorable comments. Enuf said. — C. H. Sarto- 
rius, Capitol Theatre, Hartley, Iowa. General pat- 

First National 

BEDSIDE: Warren William— A palooka which I had 
to double feature. Warner wouldn't let me do it with 
one of theirs, but there are enough punks from other 
companies to make up for it. — Robert Wile, Granada 
Theatre, Pearl River, N. Y. Small town and suburban 

BEDSIDE: Warren William, Jean Muir — A very 
good entertaining picture of its kind. Tlie whole cast 
was fine. The cast being so good made the picture. 
The story was rather thin and it took good acting 
to save it. They did and people were satisfied with 
the show. Played June 21-22.— Bert Silver, Silver 
Family Theatre, Greenville, Mich. Town and country 

FOG OVER FRISCO: Bette Davis. Margaret Lind- 
say, Lyle Talbot, Donald Woods— This released but 
recently and as it proved excellent entertainment I am 
anxious to pass along promptly the good news. The 
action is fast and has plenty of thrills. We ran it 
on our Family Night and it pleased everybody. Little 
better than average receipts. Played June 16. — M. R. 

Williams. Texon Theatre, Texon, Texas. Small town 

MANDALAY: Kay Francis, Ricardo Cortez — Not so 
hot. Very much disappointed in this one, both on 
the screen and at the box-office. Played April 22-23- 
24.— Earl J. McClurg, Grand Theatre, Preston, Idaho. 
Small town and rural patronage. 

MASSACRE: Richard Barthelrness— The ideal small 
town picture and very much enjoyed by adults and 
children. Not a single criticism. Better than average 
receipts. Played June 14-15. — M. R. Williams, Texon 
Theatre, Texon, Texas. Small town patronage. 

MERRY FRINKS, THE: Aline MacMahon— Here is 
real comedy. Aline MacMahon as Ma Frink can't be 
beaten. Played this on Family Days and satisfied good 
crowds. Played June 19-20. — Henry Sparks, Grand 
Theatre, Cooper, Texas. Small town and rural pat- 

SMARTY: Joan Blondell, Warren William— And the 
producers deny making dirty pictures. This one is 
about the worst yet, swapping husbands and wives 
at wholesale. No wonder the churches and people are 
hollering for cleaner pictures. A few like this will 
make any one holler. — Warren Weber, Deluxe The- 
atre, St. John, Kan. General patronage. 

SON OF A SAILOR: Joe E. Brown— This is a little 
old, but good. Every one liked it who likes Brown. 
Running time, eight reels. Played May 8-9. — C. V. 
Hunerberg, Princess Theatre, Parkersburg, Iowa. Gen- 
eral patronage. 

ell, Ginger Rogers, Pat O'Brien — Another good one 
from Warner. No smutty remarks as in some of their 
releases. Too bad we don't get more like this one as 
the box-office can stand it during this hot weather. 
Running time, 80 minutes. Played June 14-15. — Frank 
A. Finger, Gem Theatre, Marissa, 111. Small town 

ell, Ginger Rogers. — This is a natural. Warner Brothers 
surely know how to put it into their musicals. Did a 
good business and every one liked it. Played June 3- 
4-5. — Earl J. McClurg. Grand Theatre, Preston, Idaho. 
Small town and rural patronage. 

E. Brown does not go in ray town. People here did 
not like the picture and I surely did a poor business. 
This is the first time he has ever played in my house. 
No good. Played June 1-2. — Earl J. McClurg, Grand 
Theatre, Preston, Idaho. Small town and rural pat- 

WONDER BAR: Al Jolson, Dick Powell, Ricardo 
Cortez, Dolores Del Rio — This one, while it had played 
all around here, still did a whale of a business in a 
town where pictures don't stand up more than two 
days. Nuf sed. — Robert Wile, Granada Theatre, Pearl 
River, N. Y. Small town and suburban patronage. 

WONDER BAR: Al Jolson— Played this late and 
didn't do the business I should have because of the 
fact that a larger town near by ran it in April, and 
so thoroughly covered my territory with advertising 
that most all the folks that wanted to see it went to 
see it during its four-day run in that town. Don't 
think this picture will compare with "Gold Diggers 
of 1933" or "Footlight Parade" in small towns. I 
didn't do but 50 per cent of the business that I did 
on "Gold Diggers of 1933" or "Footlight Parade." 
Played June 21-22.— Henry Sparks, Grand Theatre, 
Cooper, Texas. Small town and rural patronage. 

WONDER BAR: Al Jolson, Dick Powell, Ricardo 
Cortez, Dolores Del Rio — Excellent as are all of War- 
ner Brothers musicals. Did a swell business and every 
one liked it. Played May 13-14-15.— Earl J. McClurg, 
Grand Theatre, Preston. Idaho. Small town and rural 


BOTTOMS UP: Spencer Tracy, Sid Silvers— This 
fellow Spencer Tracy always good. Never played a 
star more pleasing. Even in some trite pictures they 
like Spencer. I like him I guess because he's about 
as handsome as Dad Jenkins and myself. Running 
time, 70 minutes. Played June 17-18. — A. J. Simmons, 
Plaza Theatre, Lamar, Mo. General patronage. 

BOTTOMS UP: Spencer Tracy— Much better than 
some of the specials. You can boost this and it will 
satisfy. Clean and good for any day. Running time, 
eight reels. Played May 12-13.— C. V. Hunerberg, 
Princess Theatre, Parkersburg, Iowa. General pat- 

CALL IT LUCK: "Pat" Paterson, Herbert Mundin 
— A racehorse story. Plenty of comedy and a whiz 
bang ending. Every one liked it. Played June 19-20. 
— C. V. Hunerberg, Princess Theatre, Parkersburg, 
Iowa. General patronage. 


CAROLINA: Janet Gaynor, Lionel Barrymore — A 
sweet picture that was well liked by all who saw it. 
For some reason it didn't do any extra business here 
to my surprise, for I expected big things from it. 
Maybe because it lacks action, being a story of ro- 
mance in old Carolina. Running time, 83 minutes. 
Played May 28-29.— William A. Crute, Victoria The- 
atre, Vancouver, B. C. Neighborhood patronage. 

CHANGE OF HEART: Janet Gaynor, Charles Far- 
rell— Possibly these stars have made a better picture, 
but this one is hard to beat from an entertainment 
standpoint. Played on the hottest nights we have 
had this summer, but at that we fared above aver- 
age at the box-oFFice. Running time, 82 minutes. 
Played June 21-22.— Frank A. Finger, Gem Theatre, 
Marissa, 111. Small town patronage. 

CHANGE OF HEART: Janet Gaynor, Charles Far- 
rell, Gmger Rogers, James Dunn— Nice little picture. 
Will please most any one. It's clean and that's some- 
thmg these days. Played June 17-18.— D. E. Fitton, 
Lyric Theatre, Harrison, Ark. Small town patronage. 

COMING OUT PARTY: Frances Dee, Gene Ray- 
mond—A sweet little picture that every one liked. Not 
much draw in the names, but this is one you can 
plug safely for average business.— Robert Wile, Gra- 
nada Theatre, Pearl River, N. Y. Small town and 
suburban patronage. 

COMING OUT PARTY: Frances Dee, Gene Ray- 
mond—They certainly came out on this slow motion 
picture. Just a lot of waste film and they came out 
and told me. Can it.— West Point Theatre, West 
Point, Iowa. General patronage. 

DAVID HARUM: Will Rogers-One of the best pic- 
tures for the past year. Drew almost capacity attend- 
ance. Greatly appreciated and often applauded. Good 
for any theatre any time. Played June 9.— George 
Lodge, Green Lantern Theatre, Claymont, Del. Small 
town patronage. 

DAVID HARUM: Will Rogers-The patrons raved 
over this and told their friends how good it was be- 
cause they came in as many numbers the second night 
as they did the first. Rogers just fitted the part like 
a glove. Business good. Running time, 85 minutes 
Played June 6-7.— William A. Crute, Victoria Theatre, 
Vancouver, B. C. Neighborhood patronage. 

DAVID HARUM: Will Rogers, Evelyn Venable— 
Ihis picture is all that the other exhibitors have said 
of It. Harum was a natural character for Rogers. 
Rogers pulls for he has a following of people that we 
never see in the theatre at any other time. And if 
you ask me this star is the only one that has been 
successful this season for us. Gaynor, that used to 
be a bet, has slipped and never pulled normal business 
since -Paddy, the Next Best Thing."— A. E Han- 
cock, Columbia Theatre, Columbia City, Ind. General 

DAVID HARUM: Will Rogers-One of the most 
satisfactory pictures for a long time. Clean, whole- 
some fun for all. Nothing but praise for this one 
Running time, nine reels. Played Apr 28-29 —C V 
Hunerberg, Princess Theatre, Parkersburg, Iowa' 
General patronage. 

DAVID HARUM: Will Rogers-The first packed 
house this town has had in three years. And how 
they came and how they raved. Too bad we can't 
have those every day in the week.— Robert Wile 
Granada Theatre, Pearl River, N. Y. Small town 
and suburban patronage. 

DAVID HARUM: Will Rogers— Played this three 
days with a midnight opening and was very disap- 
pointed m the business. Did not do much over 
average Rogers business. However, it is beyond 
a doubt Rogers' best picture to date. Running time, 
90 minutes. Played May 20-21-22.— Walter Beymer 
Lido Theatre. Providence, Ky. Small town patron- 

EVER SINCE EVE: George O'Brien-Very enter- 
taining picture. A semi-action that has everything 
for entertainment. The supporting cast is excellent. 
Played Apr. 17-18.— C. V. Hunerberg, Princess Thea- 
tre, Parkersburg, Iowa. General patronage. 

Alice Faye, Jimmy Durante^Beautiful both artis- 
tically and every other way. Probably the hot 
weather hit us but business was pretty close to what 
Fox eixpected judging by the guarantee.— Robert 
Wile, Granada Theatre, Pearl River, N. Y. Small 
town and suburban patronage. 

George Wliite, Alice Faye, Jimmy Durante— A good 
musical that failed to get business. It was lavishly 
produced and the musical numbers were good. Dur- 
ante came very near stealing the show and Alice 
Faye was excellent. Running time. 78 minutes. 
Played May 31 — une 1.- Fred M. Elkin, Carolina 
Theatre, Lexington, N. C. General patronage. 

Jimmy Durante, Alice Faye — Good musical with some 
splendid numbers. No big draw at the box-office, 
however. Running time, 80 minutes. Played June 
9-10.— C. V. Hunerberg, Princess Theatre, Parkers- 
burg, Iowa. General patronage. 

HOLD THAT GIRL: James Dunn, Claire Trevor 
— The kind of show that sends them out smiling and 
not sorry they spent their all-too-scarce dimes for a 
show. This one has comedy, romance, thrills and 



Added to the ranks of the reporters 
to the "What the Picture Did for Me" 
department this week are four new 
contributors, hailing from the Midwest 
and the East. Their initial reports ap- 
pear in this issue. We welcome: 

Earl J. McClurg, Grand Theatre, 
Preston, Idaho. 

L. S. Gilligan, Tall Corn Theatre, 
Kanawha, Iowa. 

C. H. Sartorius, Capitol Theatre, 
Hartley, Iowa. 

Robert Wile, Granada Theatre, 
Pearl River, N. Y. 

about everything to hold the interest of a small 
town audience. Not a highbrow play but it pleased. 
Running time, I'^S m-'outes. Flayed June 20-21.— 
Gladys E. McArdle, Owl Theatre, Lebanon, Kan. 
'^mall town pat.-^nagi. 

I BELIEVED IN YOU: Victor Jory, John Boles- 
Somebody in the Fox lot must have believed in this 
one or we would have been spared the agony. Name- 
less casts don't help poor pictures. Someone asked 
me if I were testing unknowns here. — Robert Wile, 
Granada Theatre, Pearl River, N. Y. Small town 
and suburban patronage. 

I BELIEVED IN YOU: Victor Jory, John Boles— 
About one-quarter of my audience walked out on it 
and I don't blame them. Boys, be sure and shelve 
this lemon. — West Point Theatre, West Point, Iowa. 
General patronage. 

LOST PATROL. THE: Victor McLaglen, Boris 
Karloff — This production is rated as a three star pic- 
ture. I do not consider it worthy of this rating. It 
did not appeal to my patrons. Played June 16. — 
George Lodge, Green Lantern Theatre, Claymont, 
Del. Small town patronage. 

MURDER IN TRINIDAD: Heather Angel, Victor 
Jory — Another flop from Fox. Would not hold up on 
Saturday which always carries a certain amount of 
guaranteed business. Played June 2. — Walter Bey- 
mer, Lido Theatre, Providence, Ky. Small town 

MY WEAKNESS: Lilian Harvey, Lew Ayres— 
Excellent. This one has about everything the audi- 
ence can ask for. good story, good cast, good music, 
and plenty of laughs. Went over big. Running 
time, 74 minutes. Played June 13-14. — Gladys E. Mc- 
Ardle, Owl Theatre, Lebanon, Kan. Small town 

OLSEN'S BIG MOMENT: El Brendel, Walter Cat- 
lett — El is a favorite here, and there is always a de- 
mand for comedy features. This is just a farce, to 
me too wet, but many men spoke about it as the 
kind of picture they like to see, full of laughs, noth- 
ing to thing about. There is a definite demand for 
the good comedy. Production companies give us all 
too few of them. Played June 15-16. — Mrs. G. C. 
Moore, American Tlieatre, Harlowton, Mont. Small 
town patronage. 

nor, Warner Baxter — We played it old but what is 
the difference when it is just what the whole town 
wants to see. It is a great picture, clean, good com- 
edy, romance, pathos. Why can't the companies make 
more like this. It appeals to the whole family and 
the exhibitor knows he is right when he plays it. 
He can guarantee it. Warner Baxter has not had 
good roles lately. He is deserving of the best and 
Fox should give more time and money to the selec- 
tion of better vehicles for his starring pictures. Of 
course, "Paddy" is okay. Running time, 75 minutes. 
— Mrs. G. C. Moore, American "rheatre, Harlowton, 
Mont. Small town patronage. 

SLEEPERS EAST: Wynne Gibson, Preston Fos- 
ter — They all slept through this one. All four of 'em 
that came in. I'm glad I had a newsreel or else 
those four wouldn't have stayed. Still I can't for- 
get that this outfit gave me "David Harum." — Robert 
Wile, Granada Theatre, Pearl River, N. Y. Small 
town and suburban patronage. 

SMOKY: Victor Jory, Irene Bentley. Smoky — A 
wonderful story of a horse, beautiful scenery, good 
acting and plenty of thrills. Pleased everybody. 
Brought out some who had never been in the theatre. 
Running time, 69 minutes. Flayed June 9. — Gladys 
E. McArdle, Owl Theatre, Lebanon, Kan. Small town 

WILD GOLD: John Boles, Claire Trevor— Just a 
good program picture and a little snappy song that 
you will remember and possibly the patrons will be 
whistling the tune going out. Business above aver- 
age on this one. Played June 11-12. — Frank A. Fin- 
ger, Gem Theatre, Marissa, 111. Small town patron- 

July 7 , 1934 

WILD GOLD: John Boles, Claire Trevor— A dif- 
ferent role for John Boles and is good for one day. 
Miss Trevor sings very well. Pleasing little picture 
and is clean. Played June 16. — D. E. Fitton, Lyric 
Theatre, Harrison, Ark. Small town patronage. 

WILD GOLD: John Boles, Claire Trevor, Harry 
Green — Nothing much to this one. Slow in starting. 
The old story of a man living off the woman, comes 
the hero, the profligate killed off, a mixture of 
comedy (socalled) and melodrama. The hero hurt, 
nursed back by the heroine and they lived happily 
ever after. The cast did their best with a trite story 
and it probably will get by if you don't promise 
them too much. Laid in a ghost town of the old 
mining days is the locale, brought up to the 1934 
days of the gold rush. — A. E. Hancock, Columbia 
Theatre, Columbia City, Ind. General patronage. 


BEAUTY FOR SALE: Otto Kruger, Madge Evans 
— This is only fair entertainment and will appeal to 
only certain classes. It is a modern drama, with a 
bit of comedy, action, romance and tragedy. Many 
of the scenes are taken in a large New York beauty 
shop and is strictly adult fare. This has an excellent 
supporting cast and they turn in some splendid act- 
ing to make a good program picture. Played one 
day to fair business. Running time, 87 minutes. 
Played June 21.— J. J. Medford, Otpheum Theatre, 
Oxford, N. C. General patronage. 

ESKIMO: Native Cast — A wonderful picture in 
every way except box-office. The wild animal shots 
are wonderful, beautiful scenery, especially the break- 
ing up of the ice floes, excellent acting by the native 
cast, but it is just not a small town picture. Those 
who came were enthusiastic about the picture but not 
many came. I consider I ran this picture for the 
prestige. Running time, 117 minutes. Played June 
2-3-4.— Gladys E. McArdle, Owl Theatre, Lebanon, 
Kan. Small town patronage. 

HOLLYWOOD PARTY: Lupe Velez, Jimmy Dur- 
ante, Laurel and Hardy — Personally I enjoyed this 
picture very much. I really thought I had a comedy 
hit and I heard much laughter all over the house, 
but after talking with quite a number of patrons, I 
find the ladies did not care for it, while the men 
did. It did only an average business or a little less. 
Jack Fearl is no actor and should never appear in 
pictures. He may be okay on the radio but no 
good in the talkies. Laurel and Hardy and Lupe 
Velez, Mickey Mouse and Jimmy Durante all do 
swell comedy stuff. It's all in fun and if you want 
to laugh, see it. I call it a good comedy. Played 
June 17-18-19.— S. H. Rich, Rich Theatre, Montpelier, 
Idaho. Small town and rural patronage. 

LAUGHING BOY: Ramon Novarro, Lupe Velez— 
I haven't laughed since I ran this one. The kids 
expected wild and wooly western and walked out. 
The music lovers expected singing and walked out. 
I expected to make film rental and did not, but un- 
fortunately the exhibitor cannot walk out. I certain- 
ly hope this chant, war whoop or what have you, is 
Ramon's swan song. A good actor killed by poor 
plays. Played June 16-17.— Gladys E. McArdle, Owl 
Theatre, Lebanon, Kan. Small town patronage. 

LAZY RIVER: Jean Parker, Robert Young— This 
is a very good little picture that will please the ma- 
jority of your patrons. It is a melodrama with a 
touch of comedy, action, romance and drama. The 
locale is the Louisian Bayous in the early 20th cen- 
tury. Ted Healy and Nat Pendleton furnish the 
comedy and help make this a good program picture. 
An e.xcellent cast, but no outstanding star names to 
draw. Business good one day. Running time, 77 
minutes. Played June 22. — J. J. Medford, Orpheum 
Theatre, Oxford, N. C. General patronage. 

LAZY RIVER: Jean Parker, Robert Young— A 
very good program picture. Story interesting and 
well acted. — Bert Silver, Silver Family Theatre, 
Greenville, Mich. Town and country patronage. 

iam Powell, Myrna Loy — A very good picture. One 
of the best crook type stories every filmed, but the 
drought has our business and they don't like Powell 
here. He made too many policeman stories. Run- 
ning time, 84 minutes. Played June 10. — A. J. Sim- 
mons, Plaza Theatre, Lamar, Mo. General patronage. 

Myrna Loy, William Powell — Very excellent enter- 
tainipent, although people were disappointed in the 
tragic ending. William Powell in the best role of his 
dramatic career — even outshadows the great Gable. 
Put this on your best nights. — Warren Weber, De- 
luxe Theatre, St. John, Kan. General patronage. 

MEN IN WHITE: Clark Gable, Myrna Loy— A 
splendid picture. Great acting by the stars but the 
picture did not draw the business it should. Seemed 
to satisfy those we got, but did not draw as a special 
in this town. Wrong kind of a story. People want 
to laugh and forget their troubles when they go to 
a show nowadays. Played June 17-18. — Bert Silver. 
Silver Family Theatre, Greenville, Mich. Town and 
country patronage. 

MEN IN WHITE: Clark Gable, Myrna Loy— Okay 
but not a big special. Should do a little extra busi- 
ness and will please generally. — Warren Weber, De- 
luxe Theatre, St. John, Kan. General patronage. 

MYSTERY OF MR. X: Robert Montgomery, Eliz- 
a beth Allan — Good murder mystery that went over 

THROUGH 19341935 

— wm 








A ^^^^ 

NOTE: The finest box-office names available will be added to 
this list as pictures are scheduled for production. 





This is in line with Columbia*s successful policy of casting 
players to fit roles. 

* w 









July 7 , 1934 



in spite of London locale. Everyone likes Robert 
Montgomery and this one holds the interest to the 
last reel. Running time, 85 minutes. Played June 
10-11.— Gladys E. McArdle. Owl Theatre, Lebanon, 
Kan. Small town patronage. 

QUEEN CHRISTINA: Greta Garbo, John Gilbert 
— There's life in the old gal yet. I got the history 
students in there but the teachers were kind of 
shocked. Still it did the business and that's what 
counts. — Robert Wile, Granada Theatre, Fearl River, 
N. Y. Small town and suburban patronage. 

RIPTIDE: Norma Shearer, Robert Montgomery— 
I hope for the sake of MGM and Shearer that this 
one went in the big towns. It was way over their 
heads here. But they still come to see Shearer. 
However, in this case, not enough of them. — Robert 
Wile, Granada Theatre, Pearl River, N. Y. Small 
town and suburban patronage. 

RIPTIDE: Norma Shearer, Robert Montgomery. 
Herbert Marshall — Norma Shearer's first picture in 
two years must, of course, prove an event to any 
thetare. The picture is her typed style, nothing 
original, but interesting. It is well mounted. Clear 
photography, fine backgrounds and beautiful gowns 
made it attractive as well as the acting of the prin- 
cipals. The English is a little too broad at times. 
The picture held up with heavy competition of a big 
floor show at a tavern, which means real competi- 
tion in a little town. Running time. 93 minutes. 
Played June 17-18-19.— Mrs. G. C. Moore, American 
Theatre, Harlowton, Mont. Small town patronage. 

SHOW-OFF. THE: Spencer Tracy. Madge Evans 
— This one is not up to Metro standard. They've 
spoiled us, though. If RKO had made it we would 
have said it was a good picture. It didn't mean 
much at the box-oiifice, though. — Robert Wile, Gra- 
nada Theatre, Pearl River, N. Y. Small town and 
suburban patronage. 

SHOW-OFF, THE: Spencer Tracy, Madge Evans— 
Our patrons seemed to enjoy this very much, judg- 
ing frotn the expression on their faces while this 
was unreeling and the frequent outbursts of laughter. 
Drawing power a little better than average for this 
time of the year. — J. E. Stocker, Myrtle Theatre, De- 
troit, Mich. General patronage. 

SONS OF THE DESERT: Laural and Hardy— A 
good comedy. Pleases the young adults. — Leon C. 
Bolduc, Majestic Theatre, Conway, N. H. General 

TARZAN AND HIS MATE: Johnny Weissmuller, 
Maureen O'Sullivan — A thriller to above average 
business. — C. M. Hartman, Liberty Theatre, Car- 
negie, Okla. Small town patronage. 

TARZAN AND HIS MATE: Maureen O'SuUivan. 
Johnny Weissmuller — Stress the fact that it is a new 
and different Tarzan and not to be confused with 
any other. It is a masterpiece of scientific produc- 
tion and everything the producers claim for it. Bet- 
ter than average receipts. Played June 16-17-18. — 
M. R. Williams, Texon Theatre, Texon, Texas. Small 
town patronage. 

THIS SIDE OF HEAVEN: Lionel Barrymor^ 
Very good picture, used on a Family Night, that 
pleased. This fellow Barrymore will always please 
it you can get them in on him. He should pay 
John's salary to keep him out of pictures. This 
would help Lionel 100 per cent. Running time, 74 
minutes. Played June 12. — A. J. Simmons, Plaza 
Theatre, Lamar. Mo. General patronage. 

THIS SIDE OF HEAVEN: Lionel Barrymore. Fay 
Painter — A swell picture but there just wasn't enough 
life in it to draw them in for two days. — Robert 
Wile. Granada Theatre, Pearl River, N. Y. Small 
tow and suburban patronage. 

TUGBOAT ANNIE: Wallace Beery, Marie Dress- 
ier — Wonderful. — Sammie Jackson, Jackson Theatre, 
Flomaton, Ala, Small town patronage. 

VIVA VILLA!: Wallace Beery— A great show but 
also a great flop at the box-office. Doubled adver- 
tising on this and did under average business. Might 
SO okay in a Mexican settlement but no good in my 
town. — Warren Weber, Deluxe Theatre, St. John, 
Kan. General patronage. 

VIVA yiULA!: Wallace Beery, Fay Wray— Ex- 
cellent of its kind. Wallace Beery turns in a won- 
derful performance. Played June 14-15. — D. E. Fit- 
ton, Lyric Theatre, Harrison, Ark. Small town 

Lewis Stone— Good. May Robson really stars. Run- 
ning time, 85 minutes. Played June 7-8-9.— Barton 
R. McLendon, State Theatre, Idabel, Okla. General 


LOUDSPEAKER, THE: Ray Walker— Monogram 
has hit the nail on the head again. This time Ray 
Walker wisecracks his way through 65 minutes of 
darn good entertainment, ably assisted by pretty 
little Jacqueline Wells. Plenty of laughs and it 
pleased every one 100 per cent. Don't be afraid to 
step on it, and keep your eye on Monogram this 
year; they are coming through with pictures that the 
big producers would be proud to release. Running 
time, 65 minutes. Played June 23.— Fred M. Elkin, 

Carolina Theatre, Lexington, N. C. General patron- 

SENSATION HUNTERS: Arline Judge, Preston 
Foster — Played on a double bill and the other picture 
was good. The less said about this one the better. 
It did not give satisfaction. We played it old; per- 
haps it was better when it was first released. — Bert 
Silver, Silver Family Theatre, Greenville. Mich. 
Town and country patronage. 


BOLERO: George Raft, Carole Lombard, Sally 
Rand — A very good story featuring dancing, with 
both Raft and Lombard showing to advantage. No 
gangster stuff for Raft in this one; in fact, he has 
to be a gigolo in one or two scenes. Oh, yes, Sally 
Rand displays her renowned fan dance. Business 
just fair. Running time. 83 minutes. Flayed June 1- 
2. — William A. Crute, Victoria Theatre, Vancouver, 
B. C. Neighborhood patronage. 

COME ON. MARINES: Richard Aden- Richard 
Arlen does a good job in this one. Did an excellent 
business and everyone liked it. Played May 23-24 on 
Family Nights. — Earl J. McClurg, Grand Theatre, 
Preston, Idaho. Small town and rural patronage. 

Evelyn Venable — Beautifully done as are most Para- 
mount pictures, but evidently too highbrow for my 
town, for they didn't come in to see it at all. — Rob- 
ert Wile, Granada Theatre, Pearl River, N. Y. Small 
town and suburban patronage. 

Evelyn Venable — Fredric March at his best here. 
Grossed big at the box-office and what a pleasure to 
hear the comments on it in the lobby. Played May 
20-21-22.— Earl J. McClurg, Grand Theatre, Preston, 
Idaho. Small town and rural patronage. 

DESIGN FOR LIVING: Miriam Hopkins, Fredric 
March, Gary Cooper — A cleverly produced drama of 
the risque type. This class of drama will no doubt 
be out as a result of the clean-up drive. It is so 
artistically done that the easy morals are pretty 
well glossed over. Drawing power first day above 
average with a much below average attendance the 
following two days. — J. E. Stocker, Myrtle Theatre, 
Detroit, Mich. General patronage. 

DOUBLE DOOR: Evelyn Venable, Kent Taylor— 
This picture will make them talk. Many will not like 
it because of the part Mary Morris plays, but it's a 
good picture of its kind and well acted. Very de- 
pressing but also interesting. It will not break any 
records. — S. H. Rich, Rich Theatre, Montpelier, Ida- 
ho. Small town and rural patronage. 

bert, Herbert Marshall — This is only a fair picture of 
the jungle type. It is a drama filmed on a South 
Sea island and practically the entire show is taken 
in the jungle. If you must play this, play it only 
one day and let it go at that. DeMille is falling 
down on his pictures lately, but what he needs is 
more elaborate settings. We played this one day to 
only fair business. Running time, 75 minutes. Flayed 
June 20.— J. J. Medford, Orpheum Theatre, Oxford, 
N. C. General patronage. 

HELL AND HIGH WATER: Richard Arlen, Ju- 
dith Allen — Played this one late but they came any- 
way. It is a good picture for a small town and they 
like Arlen. — Robert Wile, Granada Theatre, Pearl 
River, N, Y. Small town and suburban patronage. 

LAST ROUND-UP. THE: Randolph Scott, Monte 
Blue — A splendid drawing card. Why do producers 
think westerns are out? The radio has popularized 
the song "The Last Roundup," which was excellent- 
ly done in the picture, a version of Zane Grey's 
"Border Legion." It is said that Paramount paid 
15,000 for the use of the song in this picture so it 



(Three Volumes) 

Volumes 1 and 2 . . $ 6.20 

Volume 3 5.10 

Combination 10.00 

NADELL'S $2.60 


1790 Broadway New York 

should mean something to advertise the fact. Monte 
Blue steals the story. Running time, 65 minutes. 
Played June 8-9. — Mrs. G. C. Moore, American TThe- 
atre, Harlowton, Mont. Small town patronage. 

MANY HAPPY RETURNS: Guy Lombardo and 
Orchestra, Burns and Allen — Here is a very good 
comedy that is fast moving and full of laughs from 
start to finish. Just the type of entertainment that 
should please all of your patrons. Guy Lombardo 
and his band furnish the music. Burns and Allen 
furnish the laughs and the tap dancing by Taylor 
and Rutledge, and then the dance team of Veloz and 
Yolanda. This is the show for the whole family. 
Business good on two day run. Running time, 66 
minutes. Played June 18-19. — J. J. Medford, Orpheum 
Theatre, Oxford, N. C. General patronage. 

MELODY IN SPRING: Lanny Ross, Charhe Rug- 
gles — A very beautiful little picture. Did a swell 
business and went over very well. Played May 25- 
26.— Earl J. McClurg, Grand Theatre. Preston, Ida- 
ho. Small town and rural patronage. 

Kitty Carlisle — Business just average on this one, 
but picture deserves better patronage. Just why 
this failed at the box-oFfice I do not know, because 
it is a good picture. Paramount had better bargain 
for some old stars or they will be limping. Played 
June 10-11-12.— Earl J. McClurg, Grand Theatre, 
PrestoUj Idaho. Small town and rural patronage. 

SHE MADE HER BED: Sally Eilers, Richard Ar- 
len — Title no go; gives one the wrong impression: 
sounds too sexy. It is a little of that but lots of ex- 
citement, too, with a lion and wild cats starring and 
ends up with a fire. The patrons do not expect this 
with such a title. Business fair. Running time. 70 
minutes. Played June 1-2. — William A. Crute, Vic- 
toria Theatre. Vancouver, B. C. Neighborhood 

SHE MADE HER BED: Richard Arlen, Sally 
Eilers — This is only a fair picture. It is a romance 
of two kinds of love and the locale in an auto camp, 
where there is a county fair showing. It has a touch 
of action, thrills, romance and comedy. It has an 
excellent cast_. but in spite of this it is only a pro- 
gram picture and good for only one day showing. We 
played this on a midnight show to very poor busi- 
ness. Running time, 78 minutes. Played June 16 
midnight. — J. J. Medford, Orpheum Theatre, Oxford, 
N, C. General patronage. 

SIX of; A KIND: Charles Ruggles, Mary Poland, 
W. C. Fields, Alison Skipworth, IJurns and Allen — 
Great, Fields is the whole show and they're still 
talking about that billiard game. Business wasn't 
so good but it picked up when a week later I played 
"You're Telling Me."— Robert Wile. Granada Thea- 
tre, Pearl River, N. Y. Small town and suburban 

SIX OF A KIND: Charles Ruggles, Mary Poland 
— Miserable attempt at entertaining people. A waste 
of time and all that goes with it. No good. Played 
Apr. 29-30-31.— Earl J. McClurg, Grand Theatre, 
Preston, Idaho. Small town and rural patronage. 

SIX OF A KIND: Charles Ruggles, Mary Poland, 
W. C, Fields, Alison Skipworth, Burns and Allen — 
Gloriously funny, although Fields steals the show 
from Alison Skipworth and Mary Boland. Running 
time, 65 minutes. Played Apr. 12-13. — Barton R. 
McLendon, State Theatre, Idabel, Okla. General 

THIRTY DAY PRINCESS: Sylvia Sydney, Gary 
Grant — Sylvia Sidney again, and are we glad to see 
her. This is a clever little picture, with Sylvia 
taking a double part. Did an excellent business and 
everyone liked it very much. Give us some more 
like this one. Paramount. — Earl J. McClurg, Grand 
Theatre. Preston, Idaho. Small town and rural 

TOO MUCH HARMONY: Bing Crosbv, Judith Al- 
len, Kitty Kelly — A musical romance, not in a class 
with Bing's "Going Hollywood." Bing himself very 
good, and a new star, Judith Allen, a most attractive 
girl. We hope to see more of her. We did not like 
the combination of these Harlem black girls in a 
white girls' chorus. In fact, "Black Moonlight" 
could have been omitted completely, although we like 
Kitty Kelly. Without that, it was a good show, a 
good drawing card at the bo.x-office. Running time, 
75 minutes. Played June 10. — Mrs. G. C. Moore, 
American Theatre, Harlowton, Mont. Small town 

TRUMPET BLOWS. THE: George Raft— This pic- 
ture broke our house record of the past two years 
for low grosses and proved to me just what I have 
always thought: Raft is not an actor; he can't even 
talk. Adolplie Menjou was the only real actor in the 
picture and he worked hard to put over a poor part. 
Running time, 68 minutes. Played June 11-12, — Fred 
M. Elkin, Carolina Theatre, Lexington, N. C. Gen- 
eral patronage. 

TRUMPET BLOWS, THE: George Raft— This is 
George Raft's best picture. The bullfights were 
great. Did a big business and everyone liked it. 
Played June 15-16.— Earl J. McClurg, Grand Theatre. 
Preston, Idaho. Small town and rural patronage. 

WHARF ANGEL: Victor McLaglen, Dorothy Dell 
— This picture is on the order of Mae West's "She 
Done Him Wrong." I think it is just as good. Play- 
ed it on Family Nights, June 6-7 to an excellent 
business. — Earl J. McClurg, Grand Theatre, Preston, 
Idaho. Small town and rural patronage. 



July 7 . 1934 

WITCHING HOUR. THE: Judith Allen, Tom 
Brown — Good program picture to fair business. — S. 
H. Rich, Rich Theatre, Montpelier, Idaho. Small 
town and rural patronage. 

YOU'RE TELLING ME: W. C. Fields— In the 
winter this would have been a knockout. The heat 
hit us when this one came along, but still it did 
average business. — Robert Wile, Granada Theatre, 
Pearl River, N. Y. Small town and suburban pat- 

YOU'RE TELLING ME: W. C. Fields— All W. C. 
Fields, but very good. Flayed on Family Nights and 
everyone got a big kick out of it. Did an excellent 
business. Played June 13-14. — Earl J. McQurg, Grand 
Theatre, Preston, Idaho. Small town and rural pat- 

YOU'RE TELLING ME: W. C. Fields— This is a 
side-splitting comedy if there ever was one. There 
is only one Fields, his type being unique and I have 
noticed an increased interest in his pictures by our 
patrons. Better than average receipts. Played 
June 9.-M. R. Williams, Texon Theatre. Texon, 
Texas. Small town patronage. 


BEFORE DAWN: Stuart Erwin, Dorothy Wilson 
— Played this on a double feature and after the first 
show took it off. The poorest independents are better 
this this. — Robert Wile, Granada Theatre, Pearl River, 
N. Y. Small town and suburban patronage. 

CRIME DOCTOR: Otto Kruger, Karen Morley— 
Fine picture, only it had to be a murder story that 
not only runs the people away but you just cannot 
get business here with this type picture. This is a 
very good one that pleased the few who came to see 
it. Running time, 62 minutes. Played June 19. — A. 
J. Simmons, Plaza Theatre, Lamar, Mo. General 

DELUGE. THE: Peggy Shannon, Lois Wilson— 
Too much of the earthquake stuff and then cheap 
melodrama afterwards. What an opportunity wasted. 
No names either. — Robert Wile, Granada Theatre. 
Pearl River, N. Y. Small town and suburban pat- 

FINISHING SCHOOL: Frances Dee, Bruce Cabot 
— Here is a picture that is sure to please. Our pa- 
trons just eat it up and are calling for mere like it. 
Running time. 72 minutes. Played June 18-19. — Mrs. 
N. Monte Gill," Strand Theatre, Montpelier, Vt. Gen- 
eral patronage. 

FLYING DOWN TO RIO: Dolores De Rio, Gin- 
ger Rogers, Gene Raymond, Raul Roulien — A splen- 
did picture, absolutely original in conception, far 
away from the usual backstage plot. Scenes elabor- 
ate, beautifully directed. Nothing but praise for the 
whole picture, especially the ballet in the clouds 
which looked convincing. Gene Raymond suddenly 
seems to have come into his own and where has Fred 
Astaire been during all these musical pictures? He 
is a sensation. He is a great comedian and dancer 
combined. What a help. People are still talking 
about this musical comedy. The company put out 
some good paper on the picture, especially the minia- 
ture window cards. Running time, 80 mmutes. Play- 
ed May 27-28-29.— Mrs. G. C. Moore, American Thea- 
tre, Harlowton, Mont. Small town patronage. 

HEADLINE SHOOTER: William Gargan, Frances 
Dee. — Terrible. No sense, rhyme or reason and they 
all told me so. Why, oh, why must they take on 
Mr. Schnizter to make stuff like that. — Robert Wile, 
Granada Theatre, Pearl River, N. Y. Small town and 
suburban patronage. 

HIPS. HIPS. HOORAY: Wheeler and Woolsey, 
Ruth Etting — This is a real good comedy that is sure 
to please all of the Wheeler and Woolsey fans. It is 
full of pep and spicy dialogue. One laugh after an- 
other, some beautiful girls and two musical numbers 
make this an excellent musical comedy. One of their 
best. Good entertainment and should do a good busi- 
ness. We played this one day to good business and 
pleased all. Running time, 68 minutes. Played June 
23.— J. J. Medford, Orpheum Theatre, Oxford, N. C. 
General patronage. 

KEEP 'EM ROLLING: Walter Huston— Very good 
picture of the United States cavalry. Somewhat 
slow and draggy and devoid of comedy. Pleased 
what few came to see it. Running time, 72 minutes. 
Played June 21. — A. J. Simmons, Plaza Theatre, 
Lamar, Mo. General patronage. 

LONG LOST FATHER: John Barry more, Helen 
Chandler — Well, this one did not knock them ofif 
their seats. The nearest thing to nothing this com- 
pany has given us and disappointed quite a lot of 
people. When this star is advertised people look for 
entertainment. John did his best, but there was noth- 
ing to work on. We played it as a double feature 
bill and they let us live, as the other picture was 
good. — Bert Silver, Silver Family Theatre, Green- 
ville, Mich. Town and country patronage. 

LOST PATROL. THE: Victor Mcl.aglen, Boris 
Karloff — If you like to run over an hour of desert 
scenes and many killings, this is what you need. No 
comedy, no music; so book your shorts to make it a 
Program. Played June 21-22.— Harold C. Allison, Bald- 
win Theatre, Baldwin, Mich. Small town patronage. 

MAN OF TWO WORLDS: Francis Lederer, Elissa 
Landi — Very good if it had not been that it in some 
ways resembled "Eskimo," to which the audience 
evidently compared it. Lederer does a marvelous piece 

of acting, as does Landi. Interesting and more com- 
edy than in "Eskimo," but they are of the same 
type, which is not so good at the box-office. One 
such as this is enough in one season just as it is 
with animal pictures. The resemblance of this type 
of picture is too close to be run in the same house. — 
A. E. Hancock, Columbia Theatre, Columbia City, 
Ind. General patronage. 

El Brendel, Pert Kelton, James Gleason, "Skeets" 
Gallagher — Well there was a lot of this picture. 
Everyone worked to make it good. Some very good 
comedy and some not so good. Take it all around, 
our patrons said it was pretty good entertainment 
and with good shorts added we got out alive. The 
second night was sad, they did not come. — Bert Sil- 
ver, Silver Family Theatre, Greenville, Mich. Town 
and country patronage. 

Pert Kelton, El Brendel — It pleased here. Flayed 
June 14-15.— Harold C. Allison, Baldwin Theatre, 
Baldwin. Mich. Small town patronage. 

El Brendel — Entertaining comedy that pleased my 
patrons. Good acting and a lot of laughs and that 
is what they want these times. Running time, 67 
minutes. Played June 6-7. — Gladys E. McArdle, Owl 
Theatre, Lebanon, Kan. Small town patronage. 

MIDSHIPMAN JACK: Bruce Cabot, Betty Fur- 
ness — Here is one you can't go wrong on. A good 
story of Annapolis. Good at the box-ofhce. It's a 
pleasure to run pictures like this. — Harold C. Allison, 
Baldwin Theatre, Baldwin, Mich. Small town pat- 

RAFTER ROMANCE: Ginger Rogers— Consider 
this a very pleasing little picture. Nothing big, but 
will satisfy all who are looking for light comedy. 
Played June 17-18.— Henry Sparks, Grand Theatre, 
Cooper, Texas. Small town and rural patronage. 

RIGHT TO ROMANCE: Ann Harding— By all 
means get the women out when you play this, and 
if they bring the men along they won't be disap- 
pointed. Ann Harding is truly a wonderful actress 
and her work in this picture is very clever. Played 
June 24-25. — Henry Sparks, Grand Theatre, Cooper, 
Texas. Small town and rural patronage. 

SING AND LIKE IT: Zasu Pitts, Pert Kelton. 
Edward Everett Horton — Very good comedy that did 
not draw. Too many Pitts' pictures. TTiis gal must 
work night and day, she is in everyone's pictures. 
Running time, 70 minutes. Flayed June 13-14. — A, J. 
Simmons, Plaza Theatre. Lamar, Mo. General pat- 

SPITFIRE: Katharine Hepburn— This is a hard 
one to report on. Katie Hepburn good but Ralph 
Bellamy easily stole the show. My patrons didn't 
like this one much. Running time. 88 minutes. Play- 
ed June 3-4.— Barton R. McLendon, State Theatre, 
Idabel, Okla. General patronage. 

STINGAREE: Irene Dunne, Richard Dix— A story 
of rural Australia with Dix as the bad man. Dunne 
gets the _ opportunity to sing quite a few times and 
in all it is a very good and a clean picture. Running 
time, 77 minutes. Played Tune 7-8. — Frank A. Finger, 
Gem Theatre, Marissa, III. Small town patronage. 

THIS MAN IS MINE: Ralph Bellamy, Irene Dunne 
— This_ is a very good picture. Pleased my people. 
Play it. — Sammie Jackson, Jackson Theatre, Floma- 
ton. Ala. Small town patronage. 

WILD CARGO: Frank Buck— This is an outstand- 
ing production of its kind. Our patrons thought it 
just fair. Does not hold interest as well as a feature 
that has a storv. Did not do the business I expected 
it would. Running time, nine reels. Played June 15- 
16-17.— Bob Schwall. State Theatre. Ipswich, S. D. 
Small town patronage. 

United Artists 

is a very funny picture. The story is weak, but Lee 
Tracy is excellent. Running time, 62 minutes. Played 
June 8-9.— Barton R. McLendon, State Theatre, Ida- 
bel, Okla. General patronage. 

GALLANT LADY: Ann Harding— An excellently 
acted picture with Ann Harding and Clive Brooks 
showing up well. Brook in fact did a difficult part 
in his usual splendid style. Otto Kruger deserves 
honorable mention and we must not forget Dickie 
Moore. The ladies went for the latter in a big way. 
Running time, 81 minutes. Played June 4-5. — Wil- 
liam A. Crute, Victoria Theatre, Vancouver, B. C. 
Neighborhood patronage. 

— Very good picture. Well acted and good story of 
the banking house of Rothschild in Europe. Dialogue 
with the days of Napoleon and many of the wars and 
quarrels of Europe and the unjust persecution of 
the Jews. I am sorry to report that after paying 
high film rental, overhead, etc., had no money left. 
I met with exceptionally strong roadshow opposition 
which may account for my losses, but even at a loss 
a picture of this kind is worth while and I take 
pleasure in recommending it to my exhibitor friends. 
Played June 10-11-12.— S. H. Rich, Rich Theatre, 
Montpelier, Idaho. Small town and rural patronage. 

LOOKING FOR TROUBLE: Jack Oakie, Spencer 
Tracy — Excellent, perfect and other superlatives. Give 
us more of this kind. My patrons, of which I had 
plenty, ate it up. Oakie superbly funny and Tracy 

perfect. Thrill shots are frequent and interesting. 
Why can't we have more of this kind from this 
team? Twentieth Century a great company. Run- 
ning time, 77 minutes. Played June 17-18. — Barton R. 
McLendon, State Theatre, Idabel, Okla. General pat- 

NANA: Anna Sten — Too sad. My patrons were so 
fascinated by Anna Sten they forgot to complain. 
Running time, 88 minutes. Played May 27-28.— Bar- 
ton R. McLendon, State Theatre, Idabel, Okla. Gen- 
eral patronage. 

PALOOKA: Jimmy Durante, Stuart Erwin, I.upe 
Valez — Here is a picture. The only complaint was 
that Erwin could have retained his title by having 
his Pop teach him how to box. I believe also that it 
could have ended that way. Jimmy Durante swell 
and Erwin excellent. Running time, 86 miinutes. 
Played June 10-11.— Barton R. McLendon, State Thea- 
tre, Idabel, Okla. General patronage. 



Ayres — Made a mistake in playing this one. It was 
good several years ago, but means nothing today, 
although the picture was never played in this town. 
Practically no business first night and less the 
second. Running time, 80 minutes. Played May 24- 
25. — Walter Beymer, Lido Theatre, Providence, Ky. 
Small town patronage. 

BEXOVED: John Boles— A very good picture for 
the better class people, too slow for the fellows who 
like action. A picture like this is very hard to sell 
even though it is a good picture. It is just too slow. 
See where Uncle Carl has announced "Zest" again. 
I am wondering if he will announce the "Left Bank." 
Believe he outsmarted Metro when he let them make 
"Laughing Boy," though. Running time, 74 min- 
utes. Played June 20. — A. J. Simmons, Plaza Tehatre, 
Lamar, Mo. General patronage. 

BELOVED: John Boles, Gloria Stuart— The first 
half of this feature was good entertainment. Later 
and particularly near the end it became very slow 
and dragging. Only a fair picture. Played June 2. — 
George Ix>dge, Green Lantern Theatre, Claymont, 
Del. Small town patronage. 

BELOVED: John Boles — This musical drama of 
three generations has much to recommend it and 
also something to criticize. In showing Boles as an 
old man they made him entirely too old. I know 
folks past 80 years of age that do not look nearly 
as old and feeble as Boles did in this and why could 
they not leave him live for a while to enjoy his 
triumph? Wliy make patrons take death with them 
on leaving the theatre? Drawing power below aver- 
age. — J. K. Stocker, Myrtle Theatre, Detroit, Mich. 
General patronage. 

BELOVED: John Boles, Gloria Stuart— Good, clean 
high class drama with a beautiful story of a musi- 
cian who composes a symphony with a life time of 
work, aided by the love and encouragement of a 
faithful wife. The churches can't object to this. It's 
the kind of picture you would like to give your 
women's club or school or church. Appeals more to 
women. It is almost epic in style and slow in de- 
veloping. Boles smgs again. He is very popular and 
everyone asks for his pictures. He should sing in 
all of them. Incidentally he does very fine work in 
this role. If the strenuous objectors to poor pictures 
would come out to good ones like "Beloved," they 
might learn something. The good ones do not seem 
to interest them. Running time, 82 minutes. — Mrs. 
G C. Moore, American Theatre, Harlowton, Mont. 
Small town patronage. 

Paul Lukas — A rather good story and it held their 
interest. The names weren't very good though, as 
Paul Lukas and Fay Wray make about 20 pictures a 
year. — Robert Wile, Granda Theatre, Pearl River, N. 
Y. Small town and suburban patronage. 

Paul Lukas — Good entertainment. Gave good satis- 
faction. A good clean picture. Played June 14-15. — 
Bert Silver, Silver Family Theatre, Greenville, Mich. 
Town and country patronage. 

CROSBY CASE. THE: Wynne Gibson— Not so 
hot. Story weak and nothing happens. Patronage 
good, but I'll credit that entirely to the Clyde Bar- 
row-Bonnie Parker special also showing. Running 
time, 60 minutes. Played June 14-15-16. — Barton R. 
McLendon, State Theatre, Idabel, Okla. General 

HALF A SINNER: Joel McCrea, Sally Blane— You 
can leave the above named stars out of the picture 
and put in Berton Churchill as the deacon and you 
have the picture. It's a complete washout with the 
exception of his work. And lae had a big load to 
carry to put the picture over. He is probably stoop 
shouldered by now with his efforts. A complete fail- 
ure as far as the audience was concerned. No brains 
in the direction was apparent. — A. E. Hancock, Col- 
umbia Theatre, Columbia City, Ind. General patron- 

HONOR OF THE RANGE: Ken May nard— Some 
action, but just an ordinary western. The scenes 
were mostly at night and this detracted greatly 
from the efifectiveness of the picture. Played June 
23. — George Lodge, Green Lantern Theatre, Claymont, 
Del. Small town patronage. 

HONOR OF THE RANGE: Ken Maynard— Here 
is a good western picture that is full of action, thrills 





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picture history. 

Each year new people, new policies, 
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*1934-35 issue now on the press 






July 7, I 934 

and fightinsr. Ken Maynard and his horse Tarzan 
always please my patrons and with a good story 
they are sure to get a good business. On account of 
an all day celebration we only ran this one night, 
Saturday, to the best business in many weeks. Let's 
have more like this. Running time, 61 minutes. 
Played June 23.— J. J. Medford, Orpheum Theatre, 
Oxford, N. C. General patronage. 

I LIKE IT THAT WAY: Gloria Stuart, Roger 
Pryor — A rather different musical. A few names 
would have helped to raise the gross. As it was it 
was pretty poor at the box-office and the tunes, 
while good, had never been exploited enough. — Robert 
Wile, Granada Theatre, Pearl River, N. Y. Small 
town and suburban patronage. 

I LIKE IT THAT WAY: Gloria Stuart, Roger 
Fryor — An excellent title wasted. Universal had an 
idea somewhere, but with poor story construction 
and disgusting direction it was lost. Gloria Stuart 
is very attractive and Roger Pryor is okay, but 
somehow this misses from even being a fair program 
picture. The music was very good but it did not 
overcome the weakness of the story. If you have it 
bought play it only one day. Played June 14.— J. C. 
Darst, Dante Theatre, Dante, Va. General patronage. 

I LIKE IT THAT WAY: Gloria Stuart, Roger 
Pryor — Not a big musical, but a nice small one. A 
few good song and dance numbers. No comments. 
Running time, eight reels. Played May 5-6.— C. V. 
Hunerberg, Princess Theatre, Parkersburg, Iowa. 
General patronage. 

I'LL TELL THE WORLD: Lee Tracy— Very good 
newspaper story. Tracy is going good in this one. 
Well liked here. You can play this any day. Run- 
ning time, eight reels. Played May 29-30.— C. V. Hun- 
erberg, Princess Theatre, Parkersburg, Iowa. Gen- 
eral patronage. 

I'LL TELL THE WORLD: Lee Tracy, Gloria 
Stuart— A good program picture. If you like Lee 
Tracy it will go over okay. Played June 12-13. — D. 
E. Fitton, Lyric Theatre, Harrison, Ark. Small 
town patronage. 

LET'S BE RITZY: Lew Ayres— Just fair enter- 
tainment. No cominents. Running time, 68 minutes. 
Played May 19-20.— C. V. Hunerberg, Princess Thea- 
tre, Parkersburg, Iowa. General patronage. 

LOVE BIRDS. THE: Slim Summersville, Zasu 
Pitts— Great. Sunimerville and Pitts are good draws. 
Personally I thought it was terrible, but what's my 
opinion against the customers? — Robert Wile, Gran- 
ada Theatre, Pearl River, N. Y. Small town and 
suburban patronage. 

1-OVE BIRDS. THE: Slim Summersville, Zasu 
Pius— Not so good. This team is stepping fast. Not 
the best of entertainment by any means. Running 
time, 70 minutes. Played June 5-6.— C. V. Huner- 
berg, Princess Theatre, Parkersburg, Iowa. General 

MADAME SPY: Fay Wray, Nils Asther— A great 
picture with lots of action, too. Of course, it is war 
again but not too much of it so that the patrons 
will like it. Fine entertainment. Average business. 
Running time, 69 minutes. Played May 30-31.— Wil- 
liam A. Crute, Victoria Theatre, Vancouver, B. C. 
Neighborhood patronage. 

POOR RICH. THE: Edna May Oliver, Edward 
Everett Horton — Good comedy but again no names. 
This one was really clever and anyone who sees Edna 
May Oliver gets a laugh. Horton is good, too, but 
being overdone a bit now. — Robert Wi\e, Granada 
Theatre, Pearl River, N. Y. Small town and subur- 
ban patronage. 

POOR RICH. THE: Edna May Oliver, Edward 
Everett Horton— Very, very silly. A few walkouts. 
Business poor second night. Running time, seven 
reels.— C. V. Hunerberg, P'rnicess Theatre, Parkers- 
burg, Iowa. General patronage. 

STRAWBERRY ROAN: Ken Maynard— Here is a 
western that's good. Has a little music mixed in 
which pleased some people. Played June 16-17. — 
Harold C. Allison, Baldwin Theatre, Baldwin, Mich. 
Small town patronage. 

WHEELS OF DESTINY: Ken Maynard— Good 
western, better even than some of his others. West- 
erns are still liked here if run at low admission. 
Played May 22-23.— C. V. Hunerberg, Princess Thea 
tre, Parkersburg, Iowa. General patronage. 


AS THE EARTH TURNS: Jean Muir— One of the 
season's best. A story of the farm. We told 'em 
what it was and did a very good business both days. 
You'll hke this girl Jean Muir. She's better than 
Garbo in small towns. Running time, 65 minutes. 
Played June 22. — A. J. Simmons, Plaza Theatre, 
Lamar, Mo. General patronage. 

EASY TO LOVE: Alolphe Menjou, Mary Astor— 
A very good picture which seemed to please. Very 
spicy and also very entertaining. Excellent cast. — 
J. C. Darst, Dante Theatre, Dante, Va. General 

GAMBLING LADY: Barbara Stanwyck— Plenty 
good. Barbara Stanwyck turns the trick again in 
the true poker story. Very well done and everyone 

likes Barbara. Played May 11-12.— Earl J. McClurg, 
Grand Theatre, Preston, Idaho. Small town and 
rural patronage. 

HAROLD TEEN: Hal LeRoy— A very nice and 
pleasing picture with a musical background that 
should please most everyone. Hal LeRoy's tap danc- 
ing is positively a riot. Splendid supporting cast. 
Running time, 65 minutes. Played June 18-19. — Fred 
M. Elkin, Carolina Theatre, Lexington, N. C. Gen- 
eral patronage. 

HAROLD TEEN: Hal LeRoy, Rochelle Hudson— 
A swell little collegiate picture. Hal LeRoy does a 
fast dance act that almost takes their breath. Played 
May 9-10 on Family Nights.— Earl J. McClurg, Grand 
Theatre, Preston, Idaho. Small town and rural 

HEAT LIGHTNING: Aline MacMahon, Glenda 
Farrell — A very good picture but the desert at- 
mosphere and the murder angle didn't help much. 
Besides that I had a terrible print and the people 
complained that sentences were cut off. Had to 
double feature it, too. — Robert Wile, Granada Thea- 
tre, Pearl River, N. Y. Small town and suburban 

HI NELLIE!: Paul Muni — Here is a good picture 
that will satisfy. That boy. Muni, is good in any 
role. Average business and 100 per cent satisfactory. 
— A. L. Lighter, Orpheum Theatre, Mellen, Wis. 
Small town patronage. 

HOUSE ON 56TH STREET, THE: Kay Francis, 
Ricardo Cortez, Gene Raymond — This proved one of 
the best pictures we have had in a long time. It is 
strictly adult fare, good plot, excellent acting, un- 
usually good directing. It pleased 100 per cent and 
held up for the three days. Those who saw it 
boosted it. Running time, 68 minutes.— Mrs. G. C. 
Moore, American Theatre, Harlowton, Mont. Small 
town patronage. 

JIMMY THE GENT: James Cagney, Bette Davis 
— Very fast moving comedy and they laughed and 
laughed. But those who didn't come to see it. and 
they were legion, don't help the gross much. — Robert 
Wile, Granada Theatre. Pearl River, N. Y. Small 
town and suburban patronage. 

JIMMY THE GENT: James Cagney. Bette Davis 
— Here is a typical Cagney show that is chock full 
of action, comedy and romance. Just the type of 
picture that will appeal to all your patrons and will 
add much to Cagney's popularity. It is good en- 
tertainment and suitable for the whole family. The 
trailer sold the show days in advance and will do 
the same for you. Played one day to a good busi- 
ness. Running time, 67 minutes. Played June 23. — 
J. J. Medford, Orpheum Theatre, Oxford, N. C. Gen- 
eral patronage. 

JIMMY THE GENT: James Cagney, Bette Davis 
— James Cagney puts this over in fine shape. Did 
a swell business and it went over good. Played 
April 27-28.— Earl J. McClurg, Grand Theatre, Pres- 
ton, Idaho. Small town and rural patronage. 

LADY KILLER: James Cagney, Mae Clarke— An- 
other one of those fast, swell pictures tnat oniy 
Warner Brothers could produce. James Cagney bet- 
ter than ever, Mae Clarke plenty good. Margaret 
Lindsay excellent. As long as Warner can make 
pictures like this no one need worry, lor they cer- 
tainly make some swell ones. It is worth the price 
of admission to hear the incidental music by the 
Vitaphone orchestra. Give us plenty of popular music 
in your pictures, Warner Brothers, and keep the 
standard up and up.— J. C. Darst, Dante Theatre, 
Dante, Va. General patronage. 

MERRY WIVES OF RENO: Glenda Farrell, Mar- 
garet Lindsay — One of the cleverest comedies ever 
produced, as good or better than "Convention City." 
If Warner Brothers produce next season as con- 
sistent a program as they have this, it will certainly 
be a boon to us small town exhibitors. The satis- 
faction that I have had this year in regard to quality 
of pictures and the very efficient service rendered by 
the Dallas office has certainly made it a pleasure to 
do business with them. So let's hope they continue 
to look to the exhibitor's interest as well as their 
own as they have so consistently done the past year. 
Played June 7-8.— Henry Sparks, Grand Theatre, 
Cooper, "Texas. Small town and rural patronage. 

UPPER WORLD: Warren William. Ginger Rogers— 
This is a good picture. Business good and patrons 
satisfied. Played June 23.— Henry Sparks, Grand 
Theatre, Cooper, Texas. Small town and rural 

Short Features 

toons — Good cartoon, color, music, etc., all okay. — 
S. H. Rich, Rich Theatre, MontpeUer, Idaho. Small 
town and rural patronage. 


BEER PARADE: Scrappy — Very good cartoon.— J. 
C. Darst, Dante Theatre, Dante, Va. General patron- 

FISHING FOR TROUBLE: Sidney Murray— For 
laughing purposes, and the kind you want, this is 
great. This team is as good as ever. More power 
to them. — Mrs. N. Monte Gill, Strand Theatre, Mont- 
pelier, Vt. General patronage. 

MICKEY'S TENT SHOW: Mickey McGuire— This 
is one of the best comedies we have had the pleas- 
ure of showing in some time other than musicals. 
Why can't Columbia make them all this good? — J. C. 
Darst, Dante Theatre, Dante, Va. General patronage. 

SCREEN SNAPSHOTS: Something different, so 
they are welcome. — Harold C. Allison, Baldwin Thea- 
tre, Baldwin, Mich. Small town patronage. 

SCREEN SNAPSHOTS: Interesting.— Harold C. 
Allison, Baldwin Theatre, Baldwin, Mich. Small 
town patronage. 

UM-PA: Jack Osterman — Very good musical 
comedy, although slightly silly. — J. C. Darst, Dante 
Theatre, Dante, Va. General patronage. 


GYPSY FIDDLE, A: Terry-Toons— A good car- 
toon. Running time, one reel. — Henry Sparks, Grand 
Theatre, Cooper, Te-xas. Small town and rural 

PARDON MY PUPS: Shirley Temple— A very 
pleasing comedy. Shirley Temple is the sweetest 
kid on the screen today. — J. C. Darst, Dante Theatre, 
Dante, Va. General patronage. 

POPPm' THE CORK: Musical Comedies— A very 
good musical comedy with some really good music. 
— J. C. Darst, Dante Theatre, Dante, Va. General 

SUNNY SOUTH, THE: Terry-Toons— Not so hot. 
Have yet to see a good Terry -Toon. Running time, 
six minutes. — Walter Beymer, Lido Theatre, Provi- 
dence, Ky. Small town patronage. 


DIRTY WORK: Laurel and Hardy— Excellent in 
so far as these comedians go. Think it one of their 
best. Running time, 20 minutes. — Walter Beymer, 
Lido Theatre, Providence, Ky. Small town patron- 

FIRST ROUNDUP, THE: Our Gang— Just fair. 
This goes to show that you can't hit all the time. 
Not half as good as the old Gang. — S. H. Rich, 
Rich Theatre, Montpelier, Idaho. Small town and 
rural patronage. 

have been good. — S. H, Rich, Rich Theatre, Mont- 
pelier, Idaho. Small town and rural patronage. 

ful. Why do the producers force these on us? Run- 
ning time, nine minutes. — Barton R. MoLendon, 
State Theatre, Idabel, Okla. General patronage. 

FOR PETE'S SAKE: Our Gang— On a par with 
other Our Gang comedies. — D. E. Fitton, Lyric Thea- 
tre, Harrison, Ark. Small town patronage. 

GOOFY MOVIES (No. 3): Gives a welcome diver- 
sion on any bill. The patrons go for these and get 
a great kick out of them. Running time, nine min- 
utes. — William A. Crute, Victoria Theatre, Van- 
couver, B. C. Neighborhood patronage. 

HAPPY WARRIORS: Oddities— A good short. En- 
joyed by all. Running time, 10 minutes. — Barton R. 
McLendon, State Theatre, Idabel, Okla. General 

reel. Running time, one reel. — Barton R. McLendon, 
State Theatre, Idabel, Okla. General patronage. 

Beautiful color, some good music and some comedy 
makes this a fair musical- but not quite up to the 
standard of this series. Running time, two reels. — 
Gladys E. McArdle, Owl Theatre, Lebanon, Kan. 
Small town patronage. 

MRS. BARNACLE BILL: All-Star Comedies— It's 
a riot. Very, very funny. — S. H. Rich, Rich Theatre, 
Montpelier, Idaho. Small town and rural patronage. 

PLANE NUTS: Musical Revues— An average Healy 
and Stooges comic. Dancing excellent. Running 
time, two reels. — Barton R. McLendon, State Thea- 
tre, Idabel, Okla. General patronage. 

PLAY BALL: Willie Whopper— Excellent cartoon. 
Running time, eight minutes.— Barton R. McLendon, 
State Theatre, Idabel, Okla. General patronage. 

ROAMIN' VANDALS: Musical Comedies— One of 
MGM musical comedies, about as much music in it 
as in "Viva Villa." A very good slapstick comedy. 
— D. E. Fitton, Lyric Theatre, Harrison, Ark. Small 
town patronage. 

SCOTLAND, THE BONNIE: Fitzpatrick Travel 
Talks— This travelogue was so good that it attracted 
a great deal of attention. The Germans in the 
vicinity wanted me to get one on Germany, but I 
can't find a company that has one. All the Scotch- 
men will come out especially to see this if you tell 
them about it. — Mrs. G. C. Moore, American Thea- 
tre, Harlowton, Mont. Small town patronage. 

July 7, 1934 



TWIN SCREWS: All-Star Series— A very funny 
comedy. Good for a number of laughs. Very novel 
in some respects. Running time, 17 mmutes.— Wil- 
liam A Crute, Victoria Theatre, Vancouver, B. C. 
Neighborhood patronage. 

WILD POSES: Our Gang— Good entertainment. 
Makes a good filler. Well liked here. Running time, 
20 minutes.— WiUiam A. Crute. Victoria Theatre, 
Vancouver, B. C. Neighborhood patronage. 

TAXI BARONS: Taxi Boys— This is a good come- 
dy. One of the best of this series. It is of the slap- 
stick variety and will keep your patrons laughing 
from start to finish. Too bad that the good shorts 
were the last to be made. Running time, 20 minutes. 
—J. J. Medford, Orpheura Theatre, Oxford, N. C. 
General patronaee. 


CIRCUS HOODOO: Harry Langdon— An unusually 
poor Langdon comedy. Running time, 21 minutes. — 
Barton R. McLendon, State Theatre, Idabel, Okla. 
General patronage. 

JUST AN ECHO: Bing Crosby— Excellent. Bing 
Crosby swell. He is better in comedies than in 
pictures. Running time, 20 minutes. — Barton R. 
McLendon, State Theatre, Idabel, Okla. General 

LAZYBONES: Borrah Minnevitch— Excellent. I 
think everyone laughed at this one. Animation and 
idea good. Running time, seven minutes. — Barton 
R. McLendon, State Theatre, Idabel, Okla. General 

Arthur Tracy — Very good. Contained enough talent 
to make a full length feature. Proved to have 
drawing power. Running time, 10 minutes. — Walter 
Beymer, Lido Theatre, Providence, Ky. Small town 

NEWS HOUNDS: Pallette and Catlett— Excellent 
with good comedy suspense. These comedies are 
good. Running time, 20 minutes. — Barton R. Mc- 
Llendon, State Theatre, Idabel, Okla. General 

NO MORE BRIDGE: Leon Errol— Fair two-reeler. 
— D. E. Fitton. Lyric Theatre, Harrison, Ark. Small 
town patronage. 

OLD BUGLER, THE: Chic Sale— This is a typical 
Chic Sale picture and he is the one and only pre- 
dominating character. If he is liked in your com- 
munity this will prove excellent entertainment — 
otherwise it is just another sorry comedy. Running 
time, 20 minutes. — ^J. J. Medford, Orpheum Theatre, 
Oxford, N. C. General patronage. 

PARAMOUNT PICTORIAL (No. 1): Some beau- 
tiful colored flowers and orchestra music. A good 
filler.— D. E. Fitton, Lyric Tlieatre, Harrison, Ark. 
Small town patronage. 

PLEASE: Bing Crosby — This is a very good corne- 
dy featuring the one and only Bing Crosby singing 
several popular selections. With a good story and 
the singing of Bing, this should draw as well as any 
feature. The print has been cut in places, but Rood 
juft the same. Running time. 22 minutes. — J. J. 
Medford, Orpheum Theatre, Oxford, N. C. General 

RED HOT MAMMA: Betty Boop— From a recent 
report, we were afraid of this cartoon so did not ad- 
vertise it. However, while it is not so good as the 
others, it isn't too bad either. It is not what you 
might expect from the title, and as an exhibitor we 
should not be guilty of placing this number with a 
"children's" picture to draw children especially. I 
never did care for "Hell's Bells" but cartoon okay. 
— Mrs. G. C. Moore, American Theatre, Harlowton, 
Mont. Small town patronage. 

ROAMING ROMEO, A.: Harry Langdon— Just an- 
other Langdon short. Too silly. Running time, 21 
minutes. — Barton R. McLendon, State Theatre, Ida- 
bel, Okla. General patronage. 

STATION T.O.T.: HeadHners— This is only fair 
entertainment, but would be great for a kiddie 
matinee as the entire cast are kids running a radio 
studio. They give an excellent performance, but my 
patrons did not like them and that is all that counts. 
Running time, 10 minutes. — J. J. Medford, Orpheum 
Theatre, Oxford, N. C. General patronage. 

WILD ELEPHINKS: Popeye the Sailor— These are 
good shorts but what I mean they are really short. 
It seems just as you start to get somewhere the 
short ends. Running time, seven minutes. — Barton R. 
McLendon, State Theatre, Idabel, Okla. General 


McCullough— Fair. Nothing to rave about. — Harold 
C. Allison. Baldwin Theatre, Baldwin, Mich. Small 
town patronage. 

LION TAMER, THE: Amos 'n' Andy— This is a 
very good cartoon comedy featuring the popular 
blackface comedy team of the radio, Amos 'n' Andy. 
The dialogue is excellent, but the cartoon characters 
are not as good. Something seems to be short in it. 

but maybe it will be corrected in time. Running 
time, nine minutes.— J. J. Medford, Orpheum Thea- 
tre, Oxford, N. C. General patronage. 

—This is supposed to be one of the special Van 
Beuren musicals, but the only evidence of that fact 
is in the opening titles. Rotten entertainment. 
Better left unplayed. Running time, 19 minutes.— 
Walter Beymer, Lido Theatre, Providence, Ky. Small 

State Rights 

WORLD'S FAIR: A fine one reel short of the 
Century of Progress, all in color. Gives a very good 
picture of the fair.— Gladys E. McArdle, Owl Theatre, 
Lebanon, Kan. Small town patronage. 

United Artists 

BIG BAD WOLF, THE: Silly Symphonies— A fine 
entertaining sequel to the "Three Little Pigs." No- 
body will criticize this Disney creation. Play it. 
Running time, nine minutes. — Barton R. McLendon, 
State Theatre, Idabel, Okla. General patronage. 

CAMPING OUT: Mickey Mouse— A good Mickey 
Mouse comedy that had the audience in stitches. 
Both young and old liked it. Very original in all its 
many sequences. Running time, seven minutes. — 
William A. Crute, Victoria Theatre, Vancouver, B. 
C. Neighborhood patronage. 

FUNNY LITTLE BUNNIES: Silly Symphonies- 
Only fair. Not as good as many of the others. 
He'll never make another "Three Little Pigs." — 
S. H. Rich, Rich Theatre, Montpelier, Idaho. Small 
town and rural patronage. 


CANDY HOUSE, THE: Oswald— Entertaining. 
Running time, nine minutes. — Barton R. McLendon, 
State Theatre, Idabel, Okla. General patronage. 

GOOFYTONE NEWS: These are about the goofiest 
silliest subjects that I ever had on my screen. Just 
a waste of time to run these. Running time, one 
reel. — Henry Sparks, Grand Tlieatre, Cooper, Texas. 
Small town and rural patronage. 

OUT OF GAS: Louise Fazenda— All of Universal's 
comedies have been very good and this is a laugh 
from beginning to end. — J. C. Darst, Dante Theatre, 
Dante, Va. General patronage. 

PIN FEATHERS: Pooch Cartoons— Good one reeler 
wherever you can use one. — D'. E. Fitton, Lyric 
Theatre, Harrison, Ark. Small town patronage. 

Warner Vitaphone 

RASCALS: Melody Master.s— Excellent, i^ots of the 
patrons stayed to hear this the second time. Melody 
Masters always click. Running time, two reels. — 
Gladys E. McArdle, Owl Theatre, Lebanon, Kan. 
Small town patronage. 

good comedy cartoon that was well liked by young 
and old alike. Running time, six minutes. — William 
A. Crute, Victoria Theatre, Vancouver, B. C. 
Neighborhood patronage. 

CRASHING THE GATE: Ruth Etting— Vitaphone 
is not spending the money on these two reels that 
they used to. This is only fair. Running time, 18 
minutes. — P. G. Held, New Strand Theatre, Griswold, 
Iowa. General patronage. 

DIVORCE SWEETS: Tom Howard— Haven't had 
a comedy from Educational that contained one good 
laugh since Andy Qyde in "Dora's Dunking Dough- 
nuts." Running time, two reels. — Henry Sparks, 
Grand Theatre, Cooper, Texas. Small town and rural 

good sport reel. Running time, eight minutes. — P. G. 
Held, New Strand Theatre, Griswold, Iowa. General 

short from Warner in a long time that was just a 
waste of time to run. Running time, one reel. — 
Henry Sparks, Grand Theatre, Cooper, Texas. Small 
town and rural patronage. 

ISHAM JONES: Melody Masters— Excellent single 
reel as are all of this series. This would have been 
fine in color. Why not give us some of these band 
acts in color and add the finishing touch to the best 
shorts that are produced? Running time, 10 min- 
utes.— Don Kelsey, Lyric Theatre, Blacksburg, Va. 
College and small town patronage. 

MOROCCO NIGHTS: Broadway Brevities— This is 
an average Broadway Brevity and being in color 
will help it to get over. Running time, two reels. — 
Henry Sparks, Grand Theatre, Cooper, Texas. Small 
town and rural patronage. 

MOROCCO NIGHTS: Broadway Brevities— This 
subject was not up to par. It failed to please. These 
shorts do not have as many individual acts in them 
as formerly and so they are not as good. Running 
time, 18 minutes. — Don Kelsey, Lyric Theatre, 
Blacksburg, Va. College and small town patronage. 

You will 
want these air con- 
ditioning charts to 
aid you this summer! 



that represent standard practice in 
air conditioning engineering, adapted 
for the first time to nnotion picture, 
theatre use. Originally published in 
Better Theatres, these charts and 
their explanations are now made 
available to theatre managers and 
technicians in a durable form suited 
to ready reference. Each chart is 
readily accessible by itself, while each 
is accompanied by an explanation 
that also gives practical advice on 
how to attain the best atmospheric 
conditions for any season. These 
chart sheets therefore apply to 
operating routine for any time of 
year, winter or summer. They are 
contained in a single sheet of card- 
weight paper measuring 22 inches 
wide and 17 inches high, so folded 
according to chart divisions that each 
readily fits the pocket. Unfolded, 
the sheet may be tacked on the wall. 
The folders may be had until the 
supply is exhausted at 25 cents each. 
Send payment with order. Use the 
coupon below. 



Enclosed find $ in payment 

for Air Conditioning Charts at 25 
cents each, to be mailed postpaid to 
the following: 



If theatre 

state name 



July 7 , 1934 

1^ J. C. JeNr.N$..H.s CoLriJM M 

Omaha, Nebraska 


We have learned that a large percentage 
of you exhibitors are very much dissatisfied 
with the Motion Picture Code. This would 
indicate that a large percentage of you had 
read it. We also learn that but few of you 
are satisfied with it. Personally we don't 
know very much about it, but we are inter- 
esting ourself sufficiently to inquire if you 
are familiar with the clause having to do 
with the elimination of pictures. 

Your understanding most likely is that you 
have the right to eliminate 10 per cent of 
the pictures from the contract if you so 
desire, but does the Code give you that 
right? As we understand it, it does, until 
you reach the word "provided," and the pro- 
viso is, as we understand it, that you must 
exercise the right to eliminate within 14 
days from release date of the picture. How 
many of you have a means of knowing what 
a picture is within 14 days of release date? 
Yes, you have the critic's report in the fan 
magazines which is printed at so much per 
inch, the same as other advertising. Are 
you influenced in buying pictures by what 
some guy says of it who is paid for what 
he thinks about it (if he thinks right) ? Our 
experience has been that the less attention 
we paid to "Yes Men" the better of¥ we 
were. We don't know anything about it our- 
self, but it might pay you to look it up. We 
do know this, however, that before we sign 
any kind of a contract we always examine 
it to see if the word "provided" is in it, be- 
cause that proviso pretty generally annuls all 
that part of the contract that affects our 
interest. Outside of that, we don't know very 
much about it, but we still have our opinion 
just the same. 


Learned About Gertrude 

We have just learned who Gertrude is, 
and now our lumbago has left us and the 
sun is beginning to shine. Her full name is 
Gertrude Merriam and she is the assistant 
to A-Mike Vogel of the Round Table Club 
of the Herald in the New York office. 

In our bonehead, blundering way we seem 
to have kicked over the kittle and spilled the 
jbeans, for something we have done has 
kicked up a row between Mildred and Jean- 
nette of the Hollywood office and Gertrude 
of the New York office, occasioned, no 
doubt, because of our school girl complexion 
and our Adonis shape (a condition for which 
we are in no way responsible) and we are 
not like the sailor who had "a sweetheart 
in every port," although we are very fond 
of huckleberry pie and vanilla ice cream. 
We learn that the girls have all passed the 
dizzy stage and don't swoon every time a 
crooner starts crooning a love song on the 
radio. Those are the kind of girls who lend 
class and dignity to the Herald force. 

Of course, it is none of our doggone busi- 
ness, we realize that, but quite often our 
curiosity grabs our better judgment by the 
collar and seat of the pants and shakes us 
until we wonder just what country A-Mike 
Vogel came from. He must have come from 
a good country because we have him listed 
as a mighty swell fellow with ability to lead 

the members of the Round Table Club 
through the darkness of despondency and 
around the mudholes of depression, notwith- 
standing the membership has a high rating 
for intelligence, and this includes Fred Hines 
of Whitewater, Wis., even though he did 
broadcast us in a loud voice once as that 
"old fossil J. C." 


No Reason for Alarm 

Here in Omaha we find the theatre boys 
all hot and bothered and going around in 
circles because the "Legion of Decency" pro- 
poses to clean the dirt out of pictures. We 
don't know just how far this organization 
intends going, but if they temper their ac- 
tions with judgment and confine their boy- 
cott to dirty films we can see no reason for 
alarm, for that is exactly what the public 
and the theatremen have been yelling for for 
the past 15 years to our certain knowledge, 
and ever since the days of Theda Bara, who 
was universally known as "The Vampire." 
The public has been urging clean pictures, 
but their request doesn't seem to have 
reached Hollywood. The threat of censor- 
ship has hung over this industry almost 
from the beginning, and whose fault has it 
been that has seemed to make this action 
necessary? And yet Hollywood hasn't been 
sufficiently interested in the matter ; the ex- 
hibitors have been practically a unit for 
clean entertainment, yet the makers of enter- 
tainment don't seem to have found that out 

Through the Pocketbook 

They say that the best way to a man's 
heart is through his stomach, and it is 
equally true that the best way to some pro- 
ducer minds is through the pocketbook, and 
it seems evident that that is the route this 
organization intends taking. If the Legion 
of Decency will not be inconsistent in its 
actions in boycotting pictures and will lend 
its influence and support to clean entertain- 
ment it will be far more effective than to 
boycott the entire industry (which we don't 
think it intends to do). The moral and 
financial support of clean entertainment will 
go farther in cleaning the screen than all 
the proposals of censorship that have yet 
been offered, and it is to be hoped that our 
friends will be as insistent in supporting 
good, clean entertainment as they are in boy- 
cotting the bad. 

Refusing to support good pictures because 
some are nasty isn't the course one's best 
judgment takes. A little spice in pictures 
should not be objectionable, but filth and dirt 
are another thing, and if the Legion of De- 
cency is instrumental in bringing about clean 
entertainment they will have astonished the 
world and worked a miracle in the industry, 
for nothing else seems to have accomplished 
this end. One piece of huckleberry pie is a 
good thing, and is relished, but to eat a 
whole pie oftentimes gives one the colic, and 
let's not give the exhibitors any more colic 
than they already have, for they have aplenty 
right now. 

We might talk a whole lot more on this 
subject, but you would probably say that the 

more we talked the less we'd say, which 
would probably be true, but don't try to tell 
us that the public wants sexy, dirty pictures, 
for we know a damsite better. 


Brookfield, Mo. 

At Rockport, Mo., we met Mr. and Mrs. 
Henry Staples, who operate the Paramount 
theatre. They have changed their theatre 
somewhat since we were there the last time. 
They have decorated the exterior until now 
it is the most imposing looking place in the 
town. They reported business not so good as 
formerly, due no doubt to the hot dry spell. 


Howard Colon of the Colonial theatre at 
Hamburg, Iowa, says if they don't get an 
earthquake he thinks everything will be all 
right, as they have stood everything else, 
but L. D. Whistler of the Strand at Sibley, 
Iowa, says he hopes they do, for he doesn't 
want to miss anything. 


J. L. Yous of the Delphas theatre at 
Mound City, Mo., is the same old J. L. as 
of former years. He is so close to the Mis- 
souri River that he need never starve as 
long as the catfish are biting. 


W. B. Presley of the Globe Theatre at 
Savannah is a typical Missourian and has to 
be shown every time they sell him pictures. 
He's on the job 18 hours a day regardless 
of the NRA. 


At Maryville we met C. E. Cook, who is 
familiarly known throughout the northwest 
as "Doc." He manages the Tivoli, and he 
manages it, too. We know he is a good doc- 
tor as well as a good manager, for he pre- 
scribed for us and the prescription had a 
revenue stamp pasted over the cork. Doc 
doesn't think the Legion of Decency will ma- 
terially hurt business except in strongly 
Catholic and Protestant communities, where 
he thinks that their influence might be felt 
by the exhibitors. 


There are a lot more of the Missouri 
boys we have met and would like to tell you 
about at this time, but Ernie is working un- 
der the Government's NRA or B. V. D. 
plan (we don't know which), and that 
means that we've got to quit, notwithstand- 
ing we have brought Missouri two big rains 
since we came here and they haven't even 
thanked us for it. That's just the way these 
Missouri guys are. 

The HERALD'S Vagabond Colyumnist 

RKO Center Goes Legitimate 

M. H. Aylesworth, president of Radio- 
Keith-Orpheum Corp., announced this week 
that he has notified Rockefeller Center, Inc., 
of arrangements which have been concluded 
between RKO and Max Gordon, theatrical 
producer, whereby the RKO Center theatre 
in New York will discontinue its present 
film policy after July 8, and, after Septem- 
ber 17, be devoted to legitimate musical 
productions to be produced by Mr. Gordon. 

July 7, I 934 



M : PICTURE \^\\ 
ior -.HERALD- fe 


(L/^n international association of showmen meeting weekly 
in MOTION PICTURE HERALD for mutual aid and progress 



There must be something essentially wrong with the motion 
picture business that thrives by catering to the happiness of 
millions and yet seems unable to make possible even a little 
bit of this happiness for many of Its workers. We refer of 
course to the unhappy lot of those many theatre managers who 
exist In the face of intolerable conditions to provide entertain- 
ment for others. 

Granted there are more than many showmen rolling along 
under the bluest of skies, but the legion of managers who are 
kicked around, unwittingly or otherwise, far outnumber their 
more fortunate brethren. 

In its callous treatment of this classification of theatre em- 
ployee, the exhibition branch of this business Is patently guilty 
of impeding our President's endeavors to shorten working 
hours. In many instances, 15 hour days are still usual. Man- 
agers must toil from early morn to midnight, seven days a 
week. In defiance of the very spirit of the code that has been 
created to alleviate this Impossible situation. Incredible as I-' 
may seem, the worker In the theatre who rates the utmost 
consideration actually receives the very least. The manager 
unfortunately has no friend at court. 

There can be nothing more Ironic than the fact that the very 
men who are responsible for "Joy Months," "Laff Weeks" and 
other similar contributions to the nation's gaiety have become, 
by the demands of these labors, far unhappier than those they 
slave to amuse. 

V V V 


What the able theatreman takes in his stride during the 
course of a day's duties no doubt would Intimidate more than 
a few executives in other lines of business. Confronted fre- 
quently by sudden situations requiring immediate and satisfac- 
tory handling, your fast moving manager rarely fails to rise 
to the occasion and handsomely, to the credit of his profes- 

As an instance, we give you Manager Charley KIrkconnell, 
of the Park Theatre, down In Tampa, who experienced an acci- 
dent to his lighting system which left the house in utter dark- 
ness. Charley's quick thinking In the face of this serious 
dilemma removed any possibility of panic and turned what 
could have been a nasty jam into a joyful community sing 
appreciated thoroughly by the capacity audience. 

The story is detailed on another page and published not 
only as a tribute to this member's mental agility, but also as 
a striking instance of how capably the showman functions when 
comes the Imperative call — "the show must go on." 


Some time ago, Earle Holden spoke his mind regarding the 
sponsored broadcasting programs encouraged by Hollywood 
participation. And now Manager V. Touchett, of Fond du Lac, 
Wisconsin, voices his protests against the procedure of a major 
producing company which by letter requested him to spread 
the word In his section of a forthcoming radio dramatization 
of a pre-release feature. 

The extensive broadcasting cooperation sought for and ob- 
tained by so many showmen precludes any hasty assumption 
that this form of entertainment Is a definite box office menace. 
On the other hand, in various quarters It Is recognized as 
powerful opposition, and thus the subject invites further dis- 

The Round Table pages, need It be said, are open wide for 
opinions from our readers on this phase of entertainment. 

V V V 

Manager Charlie Mensing of the Orpheum, in Memphis, Is 
to be commended for his vigorous single-handed campaign 
to spotlight the Sunday Issue in his town. 

Memphis being pictureless on the first day of the week, 
a leading hotel has for some time been putting on free shows 
In conjunction with Sunday dinner. Mensing obtained a res- 
taurant license and adapted the hotel's Sabbath procedure 
to his situation by selling sandwiches in the lobby and allow- 
ing purchasers into the show without any extra charge. He 
was arrested, of course, and fined, but Is appealing the case. 

Whether Memphis has pictures on Sunday is neither here 
nor there. The point to be determined by the city fathers is 
whether or not, in these supposed days of enlightenment, 
the theatre is to receive the same fair shake as any other 
legitimate line of business endeavor. 

V V V 

With the tall tales we are now hearing about the "big one 
that got away," It may be time to repeat the story of the 
manager who, after an unsuccessful day with the rod, went 
Into a fish store and asked the proprietor to throw him a 
bass, explaining he did not like to lie — he wanted to tell his 
wife he actually caught it. 



July 7, 1934 

SHOWMEN'S LOBBY LAFFS! Impromptu -Sing'' 

Keeps Show Going 

All in 
the day's 

Louie Charninsky Stages 
Swell "Black Cat" Show 

A pretty thorough "Black Cat" campaign 
was put on by Louis Charninsky down at 
the Capitol Theatre in Dallas, Texas, when, 
among other things, he stenciled black cats 
on the floor of ten big downtown parking 
stations, in the lobby and at all busy inter- 

Louie engineered a tie-up with one of the 
daily papers which sponsored a "Black Cat 
Show" in one of the large department stores. 
A five dollar prize was given for the most 
beautiful cat and twelve prizes of passes for 
runner-ups. Show broke the papers every 
day. A special trailer was run for a month 
in advance and while it was on all house 
lights were out and a picture of a giant 
black cat was flashed on the wall. 

For a street bally two boys dressed in 
Black Cat costumes paraded the town and 
one of Louie's usually striking fronts was 
erected featuring two huge black cat cut- 
outs with two large pictures of Karloff and 

Work For a Quigley Award! 

SNAPPY WINDOW. Milt Harris, of H. M. 
Addison's Loew Cleveland crew, sends 
along the above shot of one of the smash 
v/indows promoted on "Murder at the 
Vanities," at the State Theatre. Spot is 
one of the most prominent in town. 

LaFalce Ties In Hundreds 

Of Stores on "Greater Glory" 

Frank LaFalce and his crew did a lot of 
fancy stepping to put over "No Greater 
Glory" at the Metropolitan, Washington, 
D. C. The local distributor for Baby Ruth 
candy bars paid for and put out window 
streamers in every store handling that con- 
fection in Washington and the surrounding 
area. Hundreds of units of a grocery chain 
also spotted strips, tying in the title to their 
merchandise, and similar hookups were 
made with A. & P. Stores which in addition 
stuffed all packages with heralds. 

Other hookins as efTective were arranged, 
giving the attraction blanket coverage in the 
entire district. Incidentally, the Metropoli- 
tan is now being skippered by Round Tabler 
Charlie Brennan, who returns to John 
Payette's division after a spell of service in 
Hartford. Here's how, Charlie. 

Work For a Quigley Award! 

Cullen Engineers Radio 
Tieups on "Rothschild" 

Mike Cullen, Loew's & U. A. Penn The- 
atre, Pittsburgh, Pa., and Manuel Green- 
wald, field representative, put over a series 
of broadcasts for their showing of "House 
of Rothschild," one being in conjunction 
with the serial running in one of the local 
newspapers. A fashion expert gave a talk 
on costumes during the Rothschild era and 
present day styles ; a leading rabbi discoursed 
on the well-known banking family and the 
civic playhouse put on a dramatization of 
the picture. 

Newspaper trucks carried banners on 
the serial, one of the merchants tied in with 
a very attractive window of china used at 
the time of the picture and stocking window 
displays were planted in connection with a 
radio contest in which souvenir books were 
given away. Another merchant ran ads on 
a Loretta Young blouse with a plug for the 
showing at the theatre and a leading beau- 
tician offered "Julie" permanent waves. 

Due to a fire in the local power plant, the 
city of Tampa, Fla., found itself in complete 
darkness. This misfortune of course in- 
cluded the theatres and Manager Charles 
Kirkconnell, of the Park, found himself in a 
spot, with a capacity audience and plenty of 

The stage feature for the week was the 
University of Tampa dancing revue, which 
naturally attracted many of the students to 
the show. Quick thinking of course was in 
order when Kirkconnell discovered that the 
lights would be off for an hour, for even 
discounting the possibility of panic, he was 
faced with the problem of refunds and 

Charlie, therefore, jumped up on the stage 
and called for community singing. One of 
the musicians volunteered to play the piano, 
his music being lighted by flashlights held 
by the ushers. The audience immediately 
entered into the spirit of the occasion, and 
this Round Tabler reports such an enjoy- 
able party that everyone remained until two 
in the morning with warm praises for the 
impromptu affair. 

Work For a Quigley Award! 

Novelty Heralds 
Click for Gilman 

From S. A. Gilman, Loew's Parkway, 
Baltimore, Md., comes an assortment of 
novelties he pulled on recent pictures. A 
little four by six teaser herald was dis- 
tributed, copy asking, "Do you know this 
little girl's father, she was left by him as 
security for a gambling debt? If you know 
him, call (theatre number) and ask for 
Miss Marker." Picture of Shirley Temple 
graced upper left hand corner of herald. 

Gummed labels the exact size of a brick 
were made up with a plug for the Temple 
picture, and pasted on all bricks holding 
down newspapers at various stands around 

Still another throwaway was a green six 
by eleven sheet for "Sadie McKee" carry- 
ing part of the diary of the leading lady, 
enough to make seeing the picture seem 
worthwhile. Gilman fancies this form of 
advertising, finding it profitable when not 
used too often. 

Work For a Quigley Award! 

neapolis, Minn., Charlie Winchell got out 
the attractive lobby and front shown above 
at the Century Theatre on "House of 
Rothschild." Note also the "Bad Wolf" 
standee at curb plugging the short. 

July 7, 1934 



Kaplan and Duffus 
Engineer Welcome 

Front page stories and art in all local 
and many out-of-town papers were numer- 
ous in the bang-up campaign put on by 
Manager Harold Kaplan and ad chief Carle- 
ton Duffus, Minnesota, Minneapolis, on the 
big time show combining the personal ap- 
pearance of "Roxy" and the feature "Men 
In White." The stage celebrity's visit was 
in the nature of a homecoming, having 
originated in Stillwell, Minn., a short dis- 
tance away. 

With this in mind, the theatremen sold 
the maestro's home town on a reception to 
the "local boy who made good," that re- 
sulted in a trip "home," a citywide lunch 
and rally, climaxed with a four-mile street 
parade after which Roxy returned to Min- 
neapolis with a large delegation of home- 
towners who witnessed his act at the thea- 

The Stillwell papers went for the party 
with front page streamers and photos, fol- 
lowing the lead of the metropolitan dailies 
which gave columns to the advent of the 
well known showman. Shots were run show- 
ing Roxy with the man who gave him his 
first theatre stake and there were stories 
by his first projectionist, and a dozen other 
gags were lined up that broke plenty of 
space. A one-column mat and story mailed 
to over 300 out of town papers also brought 
excellent returns. 

Big TIeups Promoted 

Trailers were carried by ten "A" theatres 
of the circuit in all important towns in the 
trade area, and a comprehensive radio drive 
was in augurated three weeks ahead includ- 
ing recordings by Roxy and the gang. This 
culminated with a half-hour broadcast on 
the morning of the opening handled in the 
same manner as Roxy's regular weekly 

General Mills planted a 1200-line ad 
showing the showman and his crew break- 
fasting on one of that company's brands, 
and a prominent bank for the first time gave 
display space to the attraction. Rubber 
stamps carrying theatre copy were used on 
all outgoing mail in the main offices and 
theatre, and merchants also made similar 
use of this idea. 

Bus and railroad lines planted posters in 


Midnight of Thursday, July 5, 
marked the deadline for the Ouigley 
Award competition for June. Many 
entries were rushed to Committee 
Headquarters in the last few hours 
before the time limit expired. 

The Judges — Messrs. Grainger, 
Skotiras and Blumenstock — are con- 
vening and their decision will be 
made known in the issue of July 14. 

Campaigns for the July plaque are 
in order and managers intending to 
enter this months competition are 
requested to forward their entries as 
soon as completed. — MIKE 


As many of our out-of-town nnennbers intend vacationing in New 
York, this is a good time to remind our readers that we are all ready 
for company. 

If there is anything we can do for you in advance of your visit, 
don't hesitate to write or wire. When in town, make the Club your 
headquarters. We'll be glad to take care of your mail, hotel and the- 
atre reservations and anything else you may have in mind. 

hiere's hoping we'll be seeing you. —MIKE 

all stations within a 75-mile radius, arrang- 
ing excursion rates as a further inducement. 
The Minneapolis Civic and Commerce As- 
sociation carried stories in their regular 
bulletin, wrote letters to all lunch clubs and 
contacted all music organizations on the 
date, and participated officially in the wel- 
come when Roxy arrived in town. A special 
Shrine night was also included in the cam- 

Kaplan and Duffus did not neglect "Men 
In White," as all possible newspaper and 
exploitation contacts were also made, in- 
cluding windows on the Myrna Loy styles 
and 3000 folders mailed to doctors, nurses 
and medical students. 

This account covers the best part of the 
highlights of the grand campaign put over 
by these boys in which they stressed the 
combined stage and screen show as the big- 
gest ever come to town. Well done. Round 
Tablers ! 

Work For a Qidgley Award! 

Moneyhan Uses Roving 
Scribe for "Sweethearts" 

Frank Moneyhan, publicity man, and Irv- 
ing Windisch, Warner exploiteer at the 
Circle Theatre in Indianapolis, Ind., put out 
a strolling reporter who interviewed people 
in front of theatre a week prior to open- 
ing, giving highlights on "20 Million Sweet- 

One of the leading stores was tied-up for 
a complete window made up as a broadcast- 
ing station, plus enlargements of Powell and 
Fiorite conspicuously spotted. Other mer- 
chant tie-ups consisted of a Dick Powell 
shirt window, jumbo telegrams in Western 
Union windows, music stores displays and 
Old Gold cigarette hook-ins. 

As women arrived at the theatre they were 
presented with Dick Powell stills and as a 
wind-up to the campaign a special Powell 
telegram was broadcast by the m. c. at the 
Variety Club dance. 

Work For a Quigley Award! 

Lamm Plants Street Bally 
On "Wonder Bar" Showing 

The use of an old-fashioned dray pulled 
by mules was the street bally Louis Lamm, 
Capitol, Elyria, Ohio, used for his showing 
of "Wonder Bar" to plug the "Coin' to 
Heaven on a Mule" sequence. A huge negro 
carrying a banner with playdates, etc., stood 
on the wagon driven by an old-timer. 

A little four-leaf Movie-News with mer- 
chant ads and a synopsis of the picture was 
distributed house to house at no cost to the 
theatre ; ads paying nut. Dress shop made 
up window display of Kay Francis and Del 
Rio cut-outs with costumes worn in picture. 

Screenings on "Women" 
Arranged by Bishop 

Screenings seem to work well for H. A. 
Bishop, Capitol Theatre, Calgary, Alberta, 
Canada, for on "Little Women" a special 
showing was given to which were invited 
superintendents of high schools, school 
mothers and principals. Catholic schools, 
P-T-A, Boy Scouts and Girl Guides, Min- 
isterial Association and the Local Council 
of Women, which is what we call coverage. 

As each teacher entered the theatre, she 
was presented with a booklet suggesting the 
English lessons to be prepared in connec- 
tion with the picture. A tie-in with every 
library in town resulted in bookmarks being 
distributed, and a Yardley toilet goods tie- 
up netted a window in a leading drug store. 

Work For a Quigley Award! 

Yours — for Better 
Box Office Receipts 

Not a Miracle — 
Just Good Judgment 

What to do, how to do it — to 
encourage bigger and better 
attendance — is your daily 
problem. A good picture is 
not the complete answer. Pa- 
trons show a decided prefer- 
ence for modern equipment. 

How long since you have had 
your stage equipment over- 
hauled? Now is a good time 
to bring it up to date. Peter 
Clark, Inc., offers you a free 
consulting service. Let us 
give you our ideas as to what 
you can do to attract and 
hold the crowds. 



542 WEST 30th ST., NEW YORK 



July 7 , 1934 

Ed Lynch Conceives 
Ace Lobby Flashes 

There is a lot of selling on coming fea- 
tures by use of attractive lobby displays by 
Ed Lynch, of the Cameo, Bridgeport, Conn., 
who goes in for giant size wall posters to 
highlight his advance showings. One of 
his most recent was a buildup for "20 Million 
Sweethearts" (see photo) the background of 
which was magenta, bordered in light blue 
with silver metallic trim. Title was in light 
blue trimmed with silver metallics, catch line 
above in light yellow, stars in light yellow 
with black letters. 

For "Mandalay," a blue background was 
employed, with a light blue border, the title 
in light yellow sprinkled with silver metal- 
lics. Above was cutout of Kay Francis, and 
below was group of bordered stills. Ed's 
assistant, M. J. Carroll, works with Lynch 
on these hit displays. 

Work For a Qiiigley Award! 

Front Page Story 
Exposes "Walkathon" 

Bill Hendricks, of the Warner Theatre 
down in Memphis, forwards tear sheets 
from one of his local papers carrying page 
one story of a law suit brought by one of the 
contestants in a local "walkathon." The ac- 
count detailed what was reported to have 
been the inside of the event in which "fix- 
ing" was said to have been done by the pro- 
moters, so that certain entrants would win. 

Bill suggests publicity on this as informa- 
tion to be passed along to other managers 
faced with this kind of opposition. It is 
being used as ammunition by Zone Director 
Howard Waugh, and Hendricks no doubt 
will be glad to furnish further dope on what 
they are doing in that direction. 

Work For a Quigley Award! 

Schiller "Stickers" Streets 

Harry Schiller, operating the Grand, in 
Grand Island, Neb., reports cracking his 
papers on a "Convention City" stunt with a 
flock of boys who during the night put 
stickers all over town reading "Boost for 
Grand Island Convention City of Nebraska." 
Needless to say the police got after Harry, 
but his "nefarious" work had been done to 
the tune of a few extra shekels coming into 
the box-office. 

Work For a Quigley Award! 

Parlante and Nathan 
Bally "All Quiet" 

Joe Parlante, Casino Theatre, New York 
City, and Al Nathan, Universal exploi- 
teer, didn't have much time to prepare their 
campaign for "All Quiet" because of a 
quick booking, but they did manage to get 
out a pretty nifty looking street bally (see 
photo) in the form of a truck with a trench, 
with two soldier-guards and all the war- 
fare "makings." 

Joe and Al timed the opening with the 
starting of a serialization in the local papers 
and distributed heralds in centrally located 
hotels. The lobby was dressed with an inter- 
esting display of machine guns, helmets, 
rifles, gas masks and other equipment. 
Placed on the side of the marquee a cut-out 
of a soldier's head was illuminated at night 
with a red glow that could be seen from a 

Lynch'i "Siweetheart" Foster 

Sieber's Papier Maclye Display 

Moore's "Wonder Bar" Parade 

Parlanle's "Quiet" Street Bally 

distance. All theatre attaches were dressed 
in army uniforms. 

A further bally was a parade of the Junior 
Naval Militia which marched through the 
Broadway area to the accompaniment of 
fife and drum corps. Joe also invited offi- 
cers of the fleet to attend a special perform- 
ance and two leading clergymen who had 
been delivering lectures on the evils of war 
were contacted and urged to call attention 
to the picture. 

Sieber Constructs Lobby 
Mountain Scene 

Many realistic effects were employed by 
Manager J. Lloyd Sieber, State, Philadel- 
phia, in his preparation of a "Tarzan" lob- 
by piece that simulated one of the moun- 
tain scenes from the picture. Papier mache 
was the material used and colored to appear 
lifelike. Palm trees were made up of palm 
plants and pots covered with grass mats to 
resemble reed growths (see photo) and the 
cutout figures of the stars placed so as to 
appear as a part of the whole ensemble. 
The title letters were cut out against a back- 
ground of dark blue, and lighting was sup- 
plied with red, green and blue spots. 

Lloyd carried out the jungle atmosphere 
further with a street bally in which an open 
truck was covered with grass mats, palms, 
etc. In the rear of the bally, a cave was 
constructed in the opening of which a stuf- 
fed lion was placed. A well developed usher 
was costumed as "Tarzan" and did his act 
with the beast. At busy corners, stops were 
made and heralds distributed. 

Work For a Quigley Aiuard! 

School Heads Cooperate 
On "Rothschild" Showing 

Nice job of work was the campaign on 
"House of Rothschild" effected by Manager 
F. W. Herman, Capitol, Wilkes Barre, Pa., 
ably aided by U. A. Exploiteer Charlie Ba- 
ron, in which active aid of schools was 
obtained in special meeting attended by prin- 
cipals and teachers. Local school board in- 
dorsed the feature and arranged for an- 
nouncements to all classes. 

Jumbo Postal wire hookin was well done 
with displays in branch offices and regulation 
size messages with plug copy distributed 
house to house and office to office. Book 
windows in 25 prominent spots were ar- 
ranged by local news company and tieups 
that netted newspaper space as well as win- 
dows were made with exclusive beauty shops 
and women's shoe stores. 

Newspapers cooperated by running daily 
features and art spreads, ballyhoo records 
were run on two stations, blotters given out 
at all library branches and imprinted nap- 
kins in local and nearby restaurants. 

Work For a Quigley Award! 

"Wonder Car" Parades for 
Moore's "Wonder Bar" 

B. F. "Dinty" Moore, at the Shubert- 
Rialto in St. Louis, Mo., and Bert Perkins, 
Warner exploiteer promoted a parade of 
twenty-five new Ford cars that covered a 
two-hour route through business district and 
wound up at theatre. All cars bore copy on 
"Wonder Bar" and "Wonder Car," as illus- 

Rotogravure pictures, streamer cards on 
busses for ten days prior to opening, house 
to house distribution of heralds from a ban- 
nered ballyhoo car and stands carrying copy 
in selected locations were among the high- 
lights of the campaign. 

Front with striking blue backgrounds 
studded with flicker stars was built against 
the entrance and under the marquee ; hand 
painted star head cutouts were blown up 
and used to further enhance the appearance, 
and lifesize cutout standees filled spaces 
between the doors. As per radio announce- 
ments, colortone photos of Kay Francis were 
given out at matinee, furnished gratis on 
a magazine tieup. 

July 7 , 1934 



Harrison Builds Engine 
Front for "Century" 

Ed Harrison, sets a pace for his competi- 
tors, at the Capitol Theatre in Pittsfield, 
Mass., as witness the attractive front he re- 
cently constructed for his showing of 
"Twentieth Century." 

Covering the entire box-office with a loco- 
motive front, Ed placed a stop and look 
signal to the right of entrance with a red 
light flashing on and off. The locomotive 
itself was painted black with gold trim- 
mings and reports are that the front at- 
tracted plenty of attention. We're not sure 
which of the gentlemen in the photo is Har- 
rison, but they both have a pretty pleased 

Work For a Quigley Awardl 

Ed Hamilton's Art 
Front on "Tarzan" 

F. D. Padgett, Capitol, Clearwater, Fla., 
sends us a front (see photo) that was cre- 
ated by his artist Ed Hamilton for the show- 
ing of "Tarzan," entire display done in 
brilliant colors with foliage in contrasting 
greens, and background scenes in deep blues 
with white horizon. 

In addition to the front, Padgett used a 
ten day teaser newspaper campaign and 
through a tie-up with the classified depart- 
ment received a free 30-inch ad that ran for 
six days prior to opening. A sound truck 
circling the school districts, distributed cir- 
cus-type heralds to the students. This is 
Ed's first contribution and we are hopeful of 
receiving others as effective. 

Work For a Quigley Award! 

Lashley and Glenn Plant 
Much "Harold Teen" Stuff 

Tieups with the two leading papers 
topped the "Harold Teen" campaign put on 
by Manager H. T. Lashley, Carolina, 
Greenville, S. C, and Warner exploiteer, 
Allen Glenn. One daily put on a "Teen" 
impersonation contest, the winners showing 
their acts in the theatre lobby before Satur- 
day matinee, for free tickets. The other 
sheet sponsored an auto race, entrants driv- 
ing collegiate cars, each provided with only 
one quart of gas — winner being the one to 
go the farthest distance. 

Other hookins were timely and obtained 
much coverage. Florists, Postal Telegraph, 
men's and women's shops broke out with 
snappy windows, and of course, the soda 
fountains also did themselves very well 
from the angle made famous by the cartoon. 

Work For a Quigley Award! 

Taylor Promotes Women's 
Drum Corps for "Bar" 

Charlie Taylor, publicist at Shea's Hip- 
podrome in Buffalo and Irving Windish, 
Warner exploiteer tore loose on "Wonder 
Bar," engineering a parade of 25 bannered 
cars, a uniformed Women's Fife and Drum 
Corps (see photo) and twenty Western 
Union messengers, all of whom marched to 
the theatre, stopping long enough to allow 
the ladies to "do their stuf¥" with the drums. 

From what we can gather, it looks as 
though almost every merchant in town was 
tied up ; drug stores took advantage of the 
Lux tie-in, grocers went for the Kraft 
Cheese-Jolson radio hour and carried strips 
on all their delivery trucks. Spaldings used 

Harrison' i "Loco" Front 

Hamilton's ]ungle Lobby 

Cooper's Poster Display 

Taylor's Fife and Drum Corps 

a sports window and music stores plugged 
tunes from the picture ; there were Dick 
Powell shirt windows, and beauty shops 
stressed the Del Rio and D'Orsay hair styles 
and for those with sweet teeth there was a 
"Wonder Bar" candy. Photos showing long 
lines in front of the theatre indicate the suc- 
cess of the campaign. 

Max Cooper's Poster 
Contest on "Holiday" 

Max Cooper, Skouras-Fox Theatre out in 
Hackensack, N. J., recently put on a dandy 
campaign for "Death Takes a Holiday" by 
tying up with the schools, which ran a pos- 
ter drawing contest with different slogans, 
such as "stop at crossings," etc. Outstand- 
ing posters were displayed in lobby two 
weeks prior to playdate (see photo). 

Three tickets were given as prizes, safety 
officer, newspaper photographer and Max 
acted as judges. All traffic lights carried 
"Death" cautions and a further tieup with 
a local drug store resulted in a capsule give- 
away with copy inside. 

For "David Harum" a leading minister 
was contacted, invited to see the picture and 
gave Cooper permission to quote laudatory 
comments on the showing. Minister also 
made announcement from pulpit advising his 
parishioners to see the feature. 

Work For a Quigley Award! 

Leggiero's "Fight" Herald 

Quick thinking on the part of William 
Leggiero, Warners' Ritz, San Bernardino, 
Cal., resulted in his getting out a dandy little 
throwaway measuring three by five, outside 
page reading in bold lettering, "Sensational 
expose — why Camera lost," inside copy 
saying, "Primo Camera lost the heavy- 
weight championship to Max Baer because 
the night before the fight he went to a the- 
atre to relax and laughed so much he weak- 
ened himself, screaming at the hilarious, 
idotic antics in 'The Merry Frinks,' " The 
back page simply stated in the same bold let- 
ters, "Now we'll tell — Murder will out I" 

Work For a Quigley Award! 

Barrett Promotes Military 
On "Forgotten Men" 

Russell W. Barrett, Warner's Strand in 
Woburn, Mass., did such fine business on 
"Forgotten Men" that he says he couldn't 
refrain from telling us about it. Russ con- 
tacted all military organizations in town 
and secured a letter of recommendation 
from the State Commander of the American 
Legion which was published in all the daily 
papers, plus advance stories. 

All Gold Star mothers were invited to 
attend as guests of the theatre and the 
American Legion Drum Corps paraded to 
the theatre and gave a fifteen minute con- 
cert in front of the house. As an additional 
plug, Barrett secured two downtown win- 
dows to display relics of the World War. 

Work For a Quigley Award! 

Evens Goes Plenty "Mex" 
On St. Louis "Villa" Date 

The Missouri Pacific evidently runs down 
in Mexico, for the road officials gave 
Harold Evens of the State, St. Louis, a lot 
of cooperation on his "Villa" date by supply- 
ing him with a lot of props including serape 
blankets, gold embroidered sombreros, Mex 
pottery, saddles, etc., which were planted 
for an attractive lobby flash. The road also 
ran a series of big ads selling Mexico as 
the ideal vacation land and giving the pic- 
ture a nice break in the copy. 

Advance previews were held for prom- 
inent local Mexicans, the Mexican consul- 
ate, attaches and the press. Opening night 
was colored by a group of costumed senori - 
tas and caballeros who attended premiere. 



July 7 , 1934 


Capitol, Atlanta, Ga. 

. . . Bassin calls for exhibitors to help fan 
mags increase their circulation, because he 
feels that lots of people read these mags. 

They do. But there 
is considerable vir- 
gin territory to be 
conquered before I 
would allow myself 
to go out of the way 
to turn my theatre 
into an exploitation 
place for fan maga- 
zines. There must 
be a hundred of 

I recently wrote 
Mike Vogel a let- 
EARLE M. HOLDEN ter of protest in re- 
gard to a radio ad 
that appeared in what I would consider the 
number one fan magazine. My letter was 
published in the Round Table section. It 
didn't excite any one, but that was to be 
expected. The very things that are vital to 
the industry and our business seldom excite. 
Maybe we are all getting too old to take 
notice of things that are coming into com- 
petition with us, things that should arouse 
showmen to arms. When a fan magazine 
takes it upon itself to accept radio adver- 
tising which will keep people away from 
your box office, then I say down with it. 

Now every one knows that fan magazines, 
when they see fit, pan the devil out of pic- 
tures. We all know that it is impossible for 
producers to make all good ones. Some just 
have to be bad, fair or otherwise. But 
usually, in the larger cities, the otherwise 
pictures go to the houses that charge cheaper 
admissions, and their patrons do not expect 
the very best in entertainment. I'm not try- 
ing to apologize for some of the stuff that 
has come from Hollywood ; it really has been 
bad enough. 

The fan magazines of today are some- 
thing like the majority of newspapers. They 
gladly accept our ads, for which we pay 
good money, usually a higher rate than the 
average merchant, and then alongside of our 
ad they place their review panning the pic- 
ture, which is an invitation for the public 
to stay away. 

Asks More Cooperation 

. . . The same thing is true of the present 
fan magazines. They wouldn't dare to pub- 
lish a review on some of the stories that 
appear on their pages, and then tell the 
reader not to turn to page so and so and 
read the story thereon, because the story was 
uninteresting, would they? You bet they 
wouldn't. But they will cry and pray for a 
full-page ad from some of the producers and 
then in the same issue will give a rotten re- 
view of the picture advertised. What is fair 
in that? If the fan mags depend on the the- 
atres for an existence, as Charlie says, and 
I agree with him, what right have they to 
pan any picture that is made, when the pub- 
lishers know in advance that a bad review 
will keep people away from the box offices 
of theatres all over the country? 

Personally, regardless of how bad a pic- 
ture might be, I believe that somewhere in 
the country, at somebody's theatre, that bad 
picture might have proved a success. Hap- 
pily, all movie patrons don't think alike; if 
they did, we could fold our tents and steal 

I believe that Charlie Bassin means well 
in his proposals. But I believe that before 
anything could be done along the lines he 
suggested, the fan magazines would have to 
guarantee theatre managers a fair deal, 
something they are not now giving. And 
inasmuch as the producers are the chief sup- 
porters of the fan mjigs, it is up to them to 
get the publishers in line, and then once the 
publishers have shown the theatre managers 
they are willing to play ball, then the man- 
agers in turn might feel more friendly 
toward the fan magazines. 

Wants Truth in Stories 

It is true that lots of people read movie 
magazines. As to the increase in circula- 
tion I cannot say. One thing I do know and 
that is the average movie fan and mag reader 
is getting well fed up with all the baloney 
that is sometimes published in these maga- 
zines. You read one night where so and so 
are the happiest couple in Hollywood and 
the next morning an announcement of their 
divorce appears on the front page of your 
local paper. Too much publicity that cannot 
be believed is being published in all of the 
fan magazines. And another thing, there 
are too rhany on the market. 

As to the suggestions that Charlie makes, 
the answer should first come from the pro- 
ducers, because they are the ones that sup- 
port the magazines with their advertising. 
If I were a producer and a fan mag panned 
one of my pictures after I had spent good 
money advertising, I wouldn't hesitate to 
take all ads away from that publication. If 
all the producers would band together and do 
this, some of the unfair reviews would 
quickly disappear. And it could be done. 

. . . Exhibitors should start to wake up. 
Probably no business is taken advantage of 
as much as the show business. Motion pic- 
tures are a commodity as well as an automo- 
bile or any other thing offered for public 
sale. Yet you don't see these things panned 
in your papers or in magazines. 


Much interest has been aroused in 
Charley Bassin's recent article sug- 
gesting closer cooperation between 
managers and the fan magazines. Re- 
cently we had the pleasure of hearing 
from Herman Weinberg, of the Lit- 
tle Theatre, Baltimore, and Joe Sal- 
mon, of the Riverside, New York. 

Today, we publish additional letters 
on the subject from other Round Ta- 
blers, and more will be run next week. 
Other opinions are of course invited. 


... I don't believe that Charlie Bassin's 
plan is feasible. Theatremen seem so hard 
to get together. There's too much jealousy, 
too much fear that the other fellow will get 
a little more money at the box office. Too 
much hatred between the independent and 
the chain operator, even though the chain 
operator will help the independent, if ap- 
pealed to. And in closing, I would say that 
I believe there is less cooperation between 
the men who make up our industry than in 
any other line of business. There always has 
been, probably always will be. 


JOHN McMANUS, Manager 
Midland, Kansas City, Mo. 

The fan magazine is of material assist- 
ance to any exhibitor; small argument can 
be put forth denying the fact that if people 
read about any mat- 
ter written in an 
entertaining man- 
ner they become in- 
terested and will 
purchase same. 
Should they be for- 
tunate in selecting 
an entertaining pic- 
ture they will come 
back. On the other 
hand, should the 
picture not enter- 
tain, they will lapse 
back into neglect of 
us until such time 
as their interest has been revived. 

Regarding tieing up with the distributors 
of the movie magazines, this has been done 
at this theatre for the past two years in the 
following manner. The distributor furnishes 
us with a certain number of magazines on 
which we paste a gummed sticker with the 
following copy : "Loew's Midland Theatre 
. . . Kansas City's Finest . . . Home of 
Metro-Goldwyn-Mayer, United Artists' and 
Twentieth Century Pictures . . . plus those 
delightful Hal Roach and Walt Disney Crea- 
tions." These magazines are placed around 
in the rest rooms and throughout the lounges, 
also handed to our patrons on their leaving 
by a member of the service staff, who says, 
"with our compliments." 

Does Not Encourage Tieup 

Another tieup used at times, when the dis- 
tributor has an uncertain seller is the one 
of cards. These cards advertise the maga- 
zine the distributor wishes sold, and the cur- 
rent picture and theatre's name, we paying 
for the cost of printing, the distributor han- 
dling the distribution. 

Am of the opinion that the above is as far 
as an exhibitor can go with a tieup. We do 
not want to have displays in our lobbies. 
We do not want to have trailers on our 
screen advertising anything but entertain- 
ment, and our own entertainment. 

Remember, Round Tablers, that we, the 
exhibitors, sell the picture to the public. We 
also present same to the public. We cannot 
afford to over-sell any picture, and we 
should deliver all our entertainment to the 
public in the finest manner at hand. 

July 7, 1934 




Manager Julius Daniels, Strand, Perth Am- 
boy, New Jersey, used this animation as part 
of his lobby on "Invisible Man." To left is 
shown a photo of rocker as it appeared, and 
below is diagram of Julius' construction. 

Platform top was beaverboard-covered, sides 
draped. Heavy chair was placed on 1 x A cross- 
piece, nailed solid. 1x2 cross piece rested in 
slot on springs, worked by motor. The weight 
of chair caused constant motion of crosspiece. 


fx 2' / RESTING IN ^IM' 

^ ^ "SOLID 

Chair was used a week in 
advance in lobby and during 
run was planted in nearby 
window. Crowds continually 
gathered and were curious to 
know how it rocked, as no 
wires were visible. It caused 
plenty of tall excitement. 

Taylor Ties Up Phone 
Company on "Operator 13" 

A novel twist to the old telephone stunt 
was used by Bill Taylor at Loew's State, 
Houston, Texas, for his showing of "Opera- 
tor 13" when he used two girls, one of them 
calling numbers saying "Please call Opera- 
tor 13, she has an important message for 
you." Girl at other phone answered calls 
for "Operator 13" and read message from 
Gary Cooper or Marion Davies. 

A young lady, a "daughter of the Con- 
federacy," placed flowers on the statue of 
General Johnston in behalf of the stars ap- 
pearing in the picture. Girl received tele- 
gram of congratulations from Gary Cooper, 
which rated break in the papers. 

A tie-up with Western Union resulted in 
a display of old and new telegraph equip- 
ment in lobby. Telegraph company sent out 
messages calling attention to display and 
including copy on picture. War Veterans 
were invited to attend showing; Cosmo- 
politan magazine trucks were bannered and 
newsstands tied in with displays. 

Work For a Quigley Award! 

Trilling Plants Dunnmy 
Over Front on "Quiet" 

George Trilling, manager of the Cameo 
Theatre in New York City was responsible 
for an ace three man bally in front of his 
house during the showing of "Al Quiet." 
It seems George found that a consider- 
able crowd collected when he shifted the 
dummy over the entrance, so he kept it up 
every thirty minutes during the run of the 
picture. Just a simple gag that did the 

Work For a Quigley Award! 

Tom Edwards Uses Bossy 
For "Dr. Bull" Bally 

Tom Edwards, owner manager of the 
Ozark Theatre, out in Eldon, Mo., re- 
vamped the old "bull" bally to suit his pur- 
pose when he played "Dr. Bull." Tom got 
hold of a cow and bannered his back (see 
photo) with the words "I'm on my way to 
see Dr. Bull with Will Rogers." Edwards 
says it created a lot of talk, his patrons get- 
ting quite a kick out of it. 

Tom gets out a ten by eight monthly pro- 
gram, giving play dates and titles of pic- 
tures, the reverse side of which is called 
"Tom's Movie News," carrying "news from 
Hollywood thirty days ahead of all movie 
publications." This is a sprightly little page 
giving the latest gossip about the stars and 
pictures. Programs are distributed to towns 
within a radius of thirty miles. 

Work For a Quigley Award! 

Tom Says It's No Bull 

Morris Effects Ace 
Windows on "Dressing" 

Walter Morris at the Stanley in Balti- 
more, Md., cracks often with those good 
looking window displays judging by a few- 
he sent on for "We're Not Dressing." 
Among the many was a tie-up with a mer- 
chant who displayed cotton dresses in his 
window with a card reading "When Not 
Dressing Keep Cool in Cottons," with a 
liberal assortment of stills from the pic- 
ture placed at vantage points. 

Another little gag was a visiting card 
of Bing Crosby's the reverse side of which 
read "Sorry I missed you, will be at the 
Stanley in my new picture "We're Not 
Dressing' starting Friday. Will see you 
there. (Signed Bing.)" These were dis- 
tributed at all boys and girls high schools. 

For "Upper World" Walter contacted 
daily newspapers and sold them to use the 
word "upperworld" in headlines over regu- 
lar news stories wherever possible during 
engagement. Folded cards to stand upright 
were placed in all restaurants carrying copy 
and tie-up with a department store netted 
a Max Factor-Mary Astor cosmetic dis- 
play. The above gags are typical of Walter's 
speed in his new location — the boy is step- 
ping right smart. 

Huffman's Hay Fever Haven 

Urging the use of his theatres as a hay 
fever relief, Harry Huffman at Denver, 
Colo., has been running trailers promising- 
immediate benefit to any sufferer. 

Work For a Quigley Award! 

F I registered i>jn>«;/ m 


, mm 


r I.YI.B TALBOT , ^ 
1 JOHN HAt,tlD/KY ^ 

— ::r .r ■ !" ' — - ■ 

Cleveland, Ohio, Sid Dannenberg and Bill 
Watson use standees plentifully. Above shot 
is one of eleven used at same time on 
"Registered Nurse," each standee showing 
different scene and carrying a catchline. 



July 7 , 19 3 4- 

e r S O n o I i i: ■ « s 


formerly of the Palace, Lorain, Ohio, is 

located at the Warner Theatre in San Pedro, 




has moved from the Publix Ritz in Danville, 
Pa., to the Capitol in Hazleton. 



of Yakima, Wash., old time Round Tabler, 
has joined the Benedicts. Best Wishes, 



manager of the Harris, Finlay, Ohio, has 
been moved to the Strand, Akron, replacing 
DICK WRIGHT, recently promoted to dis- 
trict manager. 



has packed bag and baggage and may now 

be found at the Farragut in Brooklyn, N. Y. 



of the Capitol, Miami, Fla., paid Club head- 
quarters a visit the other day. 


'manager, Loew's Grand, Atlanta, Ga., is 
another new Benedict who has our best 


has been appointed publicity and advertising 
manager for Warners Seashore Amusement 
Co. in Atlantic City, N. J. 



manager of the Mayan, Denver, Colo., has 
retired on doctor's order. GERALD 
WHITNEY will handle house. 


has opened the Sun Theatre in Detroit, 
Mich. House was formerly the Vendome 
and has been entirely remodeled. 


have opened the Sierra Theatre in Stock- 
ton, Cal. 



general manager of Taft Circuit, Hamilton, 
Ohio, has resigned to be managing director 
of Theatrical Managers, Inc., Indianapolis, 
Ind. Wolf is succeeded by GEORGE FET- 
TIG, formerly assistant at the Paramount, 
Middletown, Ohio. 



is now managing the Miles-Royal, Akron, 
Ohio. "G.B." was formerly at the Palace in 


has been appointed advertising manager of 
the Hamrick Circuit in Seattle, Wash., re- 
placing TED CHAMPION. 


assistant manager at the Liberty in Eliza- 
beth, N. J., has just received his LL.B. de- 
gree from N. J. Law School. Congratula- 
tions, Rudy. 


Randolph Scott - Monte Blue 
Barbara Fritchie - fredkohler 

This poster of "The Last Round-Up" is the 
work of Frestle Chenoweth, Robison The- 
atre, Albany, Mo., and was done .entirely 
In black and white. I nnks attrar+ivft 
doesn't it? 


has reopened the Strand, Kennebunkport, 




skipper of the Longmont Theatre, Long- 
mont, Colo., is taking a month's vacation. 


L. F. FLETCHER is filling the position of 
manager during Paper's absence. 



has taken over the helm of the Bighorn The- 
atre at Grey Bull, Wyo. 



has reopened the Star Theatre at Gadsden, 



has been appointed skipper of the new Jean 

Theatre at Laurel, Miss. 


DON BUCKLEY has acquired the New 
Dream Theatre, Redwood Falls, Minn., from 



is again operating the Strand Theatre at 
Pierce, Neb. 



is managing the Punch & Judy , Grosse 
Pointe, Detroit, Mich., succeeding his 
brother Karl, who is managing director of 
the Publix Fisher. 


manager of Loew's Orpheum N. Y. C, is^ 
acting as relief manager for vacationing- 


former manager of the Palace, Music Hall 
and New York City, goes to the Radio Cen- 
ter as house manager and FRED CRUISE 
of the Center takes his place as manager of 
the Music Hall. 



is managing the Court Theatre, Washington, 
Pa., replacing BOB HIGGINS, recently re- 



former manager of the Dennison Square 
Theatre, Cleveland, Ohio, has returned to 
that job. MILTON BRYER had been 
managing the house recently. 



former assistant manager at Keith's East 
105th St. and the Hippodrome, in Cleve- 
land, has been appointed manager of the 
Jewel succeeding JACK FINE. 



is city manager for Evergreen Theatres in 
Spokane, Wash. RUSSELL BROWN is 
managing the State, CHUCK CHARLES 
the Liberty, ERNEST ROSE the Orpheum 
and AL BAKER the Fox. 



is handling the Park, Boston, Mass., replac- 
ing ED WEINSTOCK, who has returned 
to New York. 


returned to B & K to manage the McVickers, 
Chicago, 111., and BEN BLOOMFIELD 
takes over the new Garrick there. 



manager of the Sunset and Queen, Ft. 
Lauderdale, Fla., is remodeling the houses. 



former manager of the Capitol, Salt Lake 
City, Utah, is now holding down the fort at 
the Paramount. 



is the new owner of the Circuit, Yreka, Cal., 
having recently purchased the house from 
R. R. RUPE. 



will open his new Theatre Time, Minne- 
apolis, Minn. 



will open a new theatre at Hobbs, New 



has opened his new house at Bennettsville, 
S. C. 



assistant at the Paramount, Montgomery, 
Ala., has been promoted to manage the Tria- 
non at No. Birmingham, Ala. 

July 7 , 1934 




Productions are listed according to the nannes of distributors in order that the exhibitor may have a short-cut towards such 
information as he may need, as well as information on pictures that are coming. Features now in work or completed for release 
later than the date of this issue are listed under "Coming Attractions." Running times are those supplied by the companies. 
Asterisk indicates running time as made known by West Coast studio before announcement by home office in New York. 

Dates are 1934, unless otherwise specified. 

Running Time 

Variations also may be due to local censorship deletions. 


Twenty Milii 

Sweethearts. . 

Rel. Date Minutes Reviewed 


Title Star 

Cftv Park Sally Blane-Henry B. Walthall- 

^.iiy rapR .... ^^^^^ ^^^^ 

fireen Eyes Charles Starrett-Shirley Grey.... June 

Murder on the Campus Charles Starrett-Shirley Grey.. - .Dec. 

auitter The Emma Dunn-Charley Grapewin- 

■ Barbara Weeks - Wm. Bake- 
well '. Feb. 

Rainbow Over Broadway Joan Marsh-Frank Albertson Dec. 

Stolen Sweets Sally Blane-Charles Starrett Mar. 

Running Time 
Rel. Date Minutes Reviewed 


27. '33. 

.65. . . 
.75. . . 







Title Star 

Black Moon Jack Holt-Fay Wray 

Crime of Helen Stanley, The.. Ralph Bellamy-Shirley Grey Apr. 

Fighting Ranger, The Buck Jones-Dorothy Revier Mar. 

Hell Bent for Love Tim McCoy-Lilian Bond May 

Hell Cat, The Robt. Armstrong-Ann Sothern June 

(See "In the Cutting Room," May 12.) 

It Happened One Night Clark Gable-Claudette Colbert Feb. 

t-ine-Up, The William Gargan-Marian Nixon. ..Mar. 

Man Trailer, The Buck Jones-Cecilia Parker Mar. 

Man's Game, A Tim McCoy-Evalyn Knapp June 

Most Precious Thing in Life.. Jean Arthur - Donald Cook - 

Richard Cromwell June 

Ninth Guest, The Donald Cook-Gepevieve Tobin. . . . Jan. 

Mo Greater Glory Frankie Darro - Lois Wilson - 

George Breakston Apr. 

Once to Every Woman Fay Wray - Walter Connolly - 

Ralph Bellamy Jan. 

One Is Guilty Ralph Bellamy-Shirley Grey.... Mar. 

Party's Over, The Stuart Erwin-Ann Sothern May 

Sisters Under the Skin Elissa Landi -Joseph Schildkraut- 

Frank Morgan Apr. 

Social Register Colleen Moore-Alexander Kirk- 
land Mar. 

Speed Wings Tim McCoy-Evalyn Knapp Feb. 

Twentieth Century John Barrymore - C. Lombard - 

Walter Connolly May 

Voice in the Night Tim McCoy-Billie Seward Apr. 

^Vhi^lpool Jack Holt-Lila Lee-Jean Arthur.. Apr. 

Whom the Gods Destroy Walter Connolly-Robert Young- 
Doris Kenyon July 

Running Time 
Rel. Date Minutes Reviewed 


Dick Powell - Ginger Rogers 

Pat O'Brien May 

(Reviewed under the title "Rhythm in the Air.") 

Very Honorable Guy, A Joe E. Brown-Alice White May 

Wonder Bar Al Jolson-Dick Powell-Ricardo 

Cortez- Dolores Del Rio- Kay 
Francis Mar. 

C nming Attractions 

Big-Hearted Herbert Guy Kibhee-Aline MacMahon- 

Patricia Ellis-Phillip Reed 

British Agent Leslie Howard-Kay Francis 

(See "In the Cutting Room," June 23.) 
Kansas City Princess Joan Blondell - Glenda Farrell- 

Robert Armstrong 

(See "In the Cutting Room," June 30.) 
Man With Two Faces, The. ... Edward G. Robinson - Mary 

Astor- Ricardo Cortez 72 

Midnight Alibi Richard Barthelmess - Ann 

Dvorak - Helen Lowell July 14 59 

84. ...Feb. 

.June 2 
.May 26 











Feo tares 

411 Men Are 






10. . . 

, . .91 
, . .59 
, . .74 
















' i 

. . . .Apr. 


. . . . Apr. 


Coming Attractions 

Among the Missing Richard Cromwell-Billie Seward 

Beyond the Law Tim McCoy-Shirley Grey 

Blind Date Ann Sothern - Paul Kelly - 

Neil Hamilton 

(See "In the Cutting Room," June 16.) 

Broadway Bill Warner Baxter-Myrna Loy 

Captain Hates the Sea, The, ..Fred Keating • Wynne Gibson - 

Victor McLaglen-John Gilbert 

Defense Rests, The Jack Holt-Jean Arthur 

(See "In the Cutting Room," June 16.) 

<3irl Friend, The Lupe Velez-Jack Haley 

Girl In Danger. Ralph Bellamy-Shirley Grey 

Lady Is Willing, The Leslie Howard-Binnie Barnes 76.... Feb. 10 

One Night of Love Grace Moore-Tullio CarminatI June 30 

Orchids and Onions Carole Lombard 

Song You Gave Me, The Bebe Daniels-Victor VarconI 84. Oct. 2I,'33 • . , , 

Sure Fire Gene Raymond Coming Attractions 

What Price Scandal Richard Cromwell-Arline Judge 


Enemies Hugh Williams - Helen Twelve- 
trees Apr. 

Baby Take a Bow James Dunn - Claire Trevor - 

Shirley Temple June 

Bottoms Up "Pat" Paterson-Spencer Tracy- 
John Boles Mar. 

Call It Luck "Pat" Paterson-Charles Star- 
rett June 

Carolina Janet Gaynor-Lionel Barrymore- 

Robert Young-Henrietta Cros- 

man Feb. 

Change of Heart Janet Gaynor-Charles Farrell- 

Ginger Rogers-James Dunn. ...May 

Charlie Chan's Courage Warner Oland-Drue Leyton July 

(Sec "In the Cutting Room." May 26.) 

Coming Out Party Frances Dee-Gene Raymond Mar. 

Constant Nymph, The Victoria Hopper-Brian Aherne. . . Mar. 

David Harum Will Rogers-Evelyn Venable Mar. 

Devil Tiger Kane Richmond-Marion Burns. ... Feb, 

Ever Since Eve George O'Brien-Mary Brian Feb. 

Frontier Marshal George O'Brien-Irene Bentley. . . . Jan. 

George White's Scandals Rudy Vallee - George White - 

Alice Faye-Jimmy Durante. ... Mar. 

Heart Song Lilian Harvey-Charles Beyer Apr. 

Hold That Girl James Dunn-Claire Trevor Feb. 

I Am Suzanne! Lilian Harvey-Gene Raymond. .. .Jan. 

1 Believed in You Victor Jory - John Boles - 

Rosemary Ames Feb. 

Murder in Trinidad Heather Angel - Victor Jory - 

Nigel Bruce Apr. 

Now I'll Tell Spencer Tracy-Alice Faye-Helen 

Twelvetrees May 

Orient Express Heather Angel-Norman Foster. . Jan. 

She Learned About Sailors Lew Ayres-Alice Faye June 

Sleepers East Wynne Gibson-Preston Foster. ... Jan. 

(See "In the Cutting Room," Dec. 30, '33.) 

Springtime for Henry Otto Kruger - Nancy Carroll - 

Heather Angel May 

Stand Up and Cheer (All Star Musical) May 

Such Women Are Dangerous. .. Warner Baxter- Rosemary Ames . May 

Three on a Honeymoon Sally Eilers-Johnny Mack Brown .. Mar. 

(See "In the Cutting Room," Mar. 3.) 
Wild Gold John Boles - Claire Trevor June 

Running Time 
Date Minutes Reviewed 



. . . A pr. 


22 . . 


. . .June 






1 , 

, ,*63 

. . .June 


2. . . 

.. .82. 

. . . Feb. 




. . . May 




. . . Jan. 




. . .Apr. 




. . .Mar. 








. . .Apr. 




. . .Feb. 






27. . . 

. 81 . 

Aug. 12, 






5. . . 


. . .Jan, 








. . . May 




. . .Apr. 


12. . . 




. . .June 


26. . . 


25. . . 

, ,*83 

. . .Apr. 


4 , 

. 80 

. . .Apr. 




. . . June 


.May 26 




Title Star 
Beast of Borneo John Preston - May Stuart - 

Borneo Joe Apr. 

'Fantomas Jean Galland Feb. 

€irl in the Case Jimmy Save - Eddie Lambert - 

Dorothy Darling Mar. 

Hollywood, City of Dreams Jose Bohr Mar. 

Romance in Budapest Franciska Gaal Apr. 

Shame of a Nation Gustaf DiessI Apr. 

Tell-Tale Heart Norman Dryden - John Kelt - 

Yolande Terrell June 

Coming Attractions 

Blue Light Leni Riefenstahl Aug. 

Running Time 
Date Minutes Reviewed 

15. . 

30. . 
18. . 



.Apr. 14 


5 55 June 30 

Caravan Charles Boyer - Loretta Young - 

Jean Parker-Phillips Holmes 

(See "In the Cutting Room." June 30.) 

Cats-Paw, The Harold Lloyd-Una Merkel 

(See "In the Cutting Room." May 12.) 

Charlie Chan in London Warner Oland - Drue Leyton- 

Hugh Williams 

Grand Canary Warner Baxter-Madge Evans Julv 

Handy Andy Will Rogers-Peggy Wood July 

Judge Priest Will Rogers 

Marie Galante Spencer Tracy- Ketti Gallian 

Serenade "Pat" Paterson-Nils Asther 

Servants' Entrance Janet Gaynor-Lew Ayres 

She Was a Lady Helen Twelvetrees • Donald 

Woods - Ralph Morgan July 

(See "In the Cutting Room," June 30.) 

Wanted Rosemary Ames - Victor Jory - 

Russell Hardie 

*80 June 

.81 ....May 




Title Star Rel. Date 

Dassan Dec. 

Forgotten Men War Film Apr. 

He, King of Virtue Fernandel-Collette Darfeuil Dec. 2d,'33... 58 

Road to Ruin Helen Foster-Paul Page May 15 58 

Throne of the Gods Dec. 

Running Time 
Minutes Reviewed 

22,'33 36. Dec. 30,'33 

1 84. May 27,'33 

. Feb. 24 
22,'33 55. Dec. 30,'33 





Big Shakedown, ' 

Circus Clown, Th 
Dark Hazard . . . 
Fashions of 1934. 
Fog Over Frisco 

Journal of a Crime. 



Merry Frinks, The . 
Registered Nurse 
Return of the Terror 
Side Streets 


.Warren William 

. Bette Davis - Charles Farrell 

Running Time 

.Joe E. 

. Donald Wood-Bettc Davis-Lyle 

. R. Ba 
. Aline 

Aline MacMahon - Paul Kelly- 
Ann Dvorak 

(See "A Woman in Her Thirties," "In the Cutting Room,' 






... 65. 


6. . 

64. . 





3 , 

72. r 






, 68.. 


10. . 



10. . 

65. . 


20. . 

69 . . 

. May 








65. . 



..May 19 
ov. 25,'33 

..Jan. 13 

. .Juna It 

. .May 5 

. . Feb. 24 

..Jan. 27 

Features Ru„„i„g Ti^e 

.. ''"J „ .. ». Rel. Date Minutes Reviewed 

Along Came Sally Cicely Courtneidge 72 Mar 3 

(Reviewed under the title "Aunt Sally.") 

Arson Ring, The Leslie Banks 68 

Channel Crossing Constance Cummings - Matheson 

Dick Turpin Victor McLaglen jSllI 15 64.... Apr. 7 

Evergreen Jessie Matthews-Sonnie Hale jurie"23 

r'u^.f? ?ll i"''' lyiatthews May I V.yzV.V.W^y 26 

Just Smith Tom Walls cq May S 

Murder Party. The Leslie Banks 62 " Mar 10 

(Reviewed under the title "The Night of the Party.") 

Orders Is Orders Charlotte Greenwood - James 

Gleason Anr 15 61 Aim IQ 

Prince of Wales, The bKAug. is, « 

Sleeping Car Ivor Novello-iviadeieine Carroli. ' 83' jiilv " 8 '33 

Waltz Time Evelyn Laye Mar I " "76'Aua 12 '33 

What? A Boy! Edward Everett Horton - llesli^ 7b. Aug. 12,33 

Hensen on Cpnt 30 '33 

(Reviewed under the title "It's a Boy.") su.&ept. su, « 

Wings Over Everest ■„_„ .g 

Woman in Command, The Cicely Courtneidge - Edward 

^.^.1 r^.., . _ ^Everett Horton May 28 70. ...June 9 


Fpf furef, R„„„i„g j.,^^ 

„ '!*'e.. Star Rel. Date Minutes Reviewed 

P'iV'w^"' All-star Cast June 15 

I Hate Women Wallace Ford-June Clyde Apr. 15 72 Apr 14 

Woman Unafraid Lucille Gleason - Richard // ...Apr. I4 

"Skeets" Gallagher Feb. 15 68 



July 7, 1934 



[Distributed through Chesterfield] 

Title Star Rel. 

Cross Streets John Mack Brown Claire Wind- 
sor-Anita Louise - Kenneth 
Thomson Jan. 

Fifteen Wives Conway Tearle-Noel Francis June 

(See "House of Strangers," "In the Cutting Room," June 2.) 

Fugitive Road Eric Von Stroheim - Leslie 

Fenton - Wera Engels July 

In Love With Life Onslow Stevens-Lila Lee-Dlckie 

Moore Apr. 

Twin Husbands John Miljan - Shirley Grey - 

Monroe Owsley Feb. 

Running Time 
Date Minutes Reviewed 

May 19 





"Bill" Boyd-Dorothy Mackaill 

June Collyer June 1... 

Comintf Attractions 

No Ransom Leila Hyams-Phillips Holmes Oct. 26 

Once to Every Bachelor Marian Nixon-Neil Hamilton. ... Dec. 14 

School for Girls Sidney Fox-Paul Kelly Mar. 22,'35 

Take the Stand Jack LaRue-Thelma Todd Sept. 7... 

Two Heads on a Pillow Neil Hamilton-Miriam Jordan. . .Feb. I, '35 

When Strangers Meet Richard Cromwell-Arline Judge.. July 20... 

Without Children May I0,'35 

Running Time 
Rel. Date Minutes Rev ewcd 

.May 19 

..May 19 


Features Running Time 

Title Star Rel. Date Minutes Reviewed 

Charming Deceiver, The Constance Cummings Dec. 8,'33 87. Sept. 16, '33 

(Reviewed under the title, "Heads We Go.") 

Morning After, The Ben Lyon-Sally Eilers Jan. I 63. Oct. 28,'33 

(Reviewed under the title, "I Spy. ') 

Sin of Nora Moran, The Zita Johann-John Miljan Dec. I3.'33 65. Dec. 30,'33 

Unknown Blonde Edward Arnold - John Miljan- 

Barbara Barondess - Dorothy 

Revier Apr. 23 67 May 5 

Coming Attractions 

Scarlet Letter, The Colleen Moore-Hardie Albright- 
Henry B. Walthall 

(See "In the Cutting Room," June 2.) 

She Had to Choose "Buster" Crabbe-lsabel Jewell- 
Sally Blane-Regis Toomey 



Title Star 

Badge of Honor Buster Crabbe-Ruth Hall Apr. 

Fighting Rookie, The Jack LaRue-Ada Ince May 

What's Your Racket? Regis Toomey-Noel Francis Dec. 

Coming Attractions 

Untitled Buster Crabbe-Gloria Shea 

Running Time 
Rel. Date Minutes Reviewed 


I, '33. 

. .70. 



Title Star Rel. 

Cat and the Fiddle, The Jeanette MacDonald - Ramon 

Novarro Feb. 

Dinner at Eight Marie Dressier-Wallace Beery- 
Lionel Barrymore-John Barry- 
more - Jean Harlow • Madge 
Evans-Karen Morley-Edmund 
Lowe - Lee Tracy - Jean 
Hersholt Jan. 

Eskimo Native Cast Jan. 

Fugitive Lovers Robt. Montgomery-Madge Evans . Jan. 

Hollywood Party (All Star Musical) June 

Laughing Boy Ramon Novarro-Lupe Velez Apr. 

Lazy River Jean Parker- Robert Young Mar. 

Manhattan Melodrama Clark Gable-Myrna Loy-William 

Powell May 

Men in White Clark Gable-Myrna Loy Apr. 

Murder in the Private Car. ... Charles Ruggles-Una Merkel . . . June 

Mystery of Mr. X Robert Montgomery - Elizabeth 

Allan Feb. 

Operator Thirteen Marion Davies-Gary Cooper June 

Queen Christina Greta Garbo-John Gilbert Feb. 

Riptide Norma Shearer - Robert Mont- 
gomery - Herbert Marshall ... Mar. 

Sadie McKee Joan Crawford-Franchot Tone May 

Show-Off, The Spencer Tracy-Madge Evans Mar. 

Stamboul Quest Myrna Loy-George Brent July 

(See "In the Cutting Room," June 23.) 

Tarzan and His Mate I. Weissmuller-M. O'Sullivan . . . Apr. 

Thin Man, The William Powell-Myrna Loy May 

This Side of Heaven Lionel Barrymore-Fay Bainter. . . Feb. 

Viva Villa! Wallace Beery-Fay Wray Apr. 

You Can't Buy Everything May Robson-Jean Parker Jan. 

Running Time 
Date Minutes Reviewed 

12 113. June I0,'33 

19 1 17. Nov. I8,'33 

5 78. Dec. 30,'33 

I 70.... June 2 

13 79 June 30 

16 77. ...Mar. 10 


.95 Apr. 28 

..75. ...Feb. 17 
.65... June 30 

23 91 Mar. 3 

15 86 June 16 

9 103. Dec. 30, '33 


9. . 


.90.... Mar. 31 

.95 May I? 

.80 Mar. 3 




. . Apr. 








. .Jan. 



1 15. . 



26. . . 


. .Feb. 


Coming Attractions 

Barretts of Wimpole Street Norma Shearer-Charles Laugh- 
ton - Fredric March 

Bom to Be Kissed Jean Harlow- Franchot Tone July 13. 

(See "In the Cutting Room," June 16.) 

Chained Joan Crawford-Clark Gable 

Four Walls Franchot Tone - Karen Morley - 

May Robson-Mae Clarke 

Have a Heart Jean Parker - James Dunn - 

Stuart Erwin - Una Merkel 

Hide Out Robert Montgomery - Loretta 


Merry Widow, The Maurice Chevalier - Jeanette 


Paris Interlude Otto Kruger - Robert Young - 

Madge Evans - Una Merkel. ..July 20. 

Student Tour Charles Butterworth - Jimmy 

Durante July 

(See "In the Cutting Room." June 23.) 

Treasure Island Wallace Beery - Jackie Cooper- 
Lionel Barrymore-Otto Kruger.. Aug. 
(See "In the Cutting Room," May 19.) 

Untitled Constance Bennett - Herbert 

Marshall • Hugh Williams 




Running Time 
Rel. Date Minutes PeviewcH 
. Feb. 24 
.May 12 


Title Star 

Beggars in Ermine Lionel Atwill Apr, I 70 

Blue Steel John Wavne May 10 54 

City Limits Ray Walker-Sally Blane-Frank 

Craven May I 70 June 23 

House of Mystery, The Verna Hillle-Ed Lowry May 30 61 

Loudspeaker, The Ray Walker-Jacqueline Wells June I 67 May 12 

Lueky Texan, The John Wayne Jan. 22 55 Jan. 27 

Title Star Rel. 

Man from Utah, The John Wayne May 

Manhattan Love Song Dixie Lee-Robt. Armstrong May 

Money Means Nothing Wallace Ford-Gloria Shea June 

Monte Carlo Nights Mary Brian-John Darrow May 

Mystery Liner Noah Beery - Astrid Allyn - 

Cornelius Keefe Mar. 

Randy Rides Alone John Wayne .June 

Sixteen Fathoms Deep Sally O'Neil-Creighton Chaney. . . Jan. 

West of the Divide John Wayne- Virginia B. Faire. . .Mar. 

Woman's Man John Halliday-Marguerite de la 

Motte- Wallace Ford Feb. 

(^nniinq Af tractions 

Girl of the Limberlost Marian Marsh-RaiDh Morgan 

Happy Landings Ray Walker-Jacqueline Wells 

Healer, The 

Jane Eyre Colin Clive - Virginia Bruce 

(See "In the Cutting Room," June 2.) 

King Kelly of the U. S. A. ..Guy Robertson 

Moonstone, The David Manners-Phyllis Barry 

Reckless Romeos Robt. Armstrong-Wm. Cagney 

Shock Ralph Forbes-Gwenllian Gill 

Star Packer, The John Wayne-Verna Hillie 

Tomorrow's Youth Dickie Moore-Martha Sleeper- 
John Miljan-Gloria Shea 

I .. 
20. . 

Running Til 

55. . . 


70. . . 

62. . . 

Mar. 31 
May It 

.r2. . 

..Mar. SI 

. . Junt 

..Feb. 10 

..Jan. 20 

..Jan. 27 




Title Rel. 

All of Me Fredric March-Miriam Hopkins- 
George Raft Jan. 

Bolero George Raft-Carole Lombard.. Feb. 

Come On, Marines Richard Arlen-lda Lupino Mar. 

Death Takes a Holiday Fredric March - Evelyn Venable .Mar. 

(Reviewed under the title, "Strange Holiday") 

Double Door Evelyn Venable-Kent Taylor May 

Eight Girls in a Boat Kay Johnson ■ Dorothy Wilson- 
Doug. Montgomery Jan. 

Four Frightened People C. Colbert - H. Marshall - Wm. 

Gargan - M. Boland Jan. 

Good Dame Sylvia SIdney-Fredric March Fob. 

Great Flirtation, The Elissa Landl-Adolphe Menjou- 

David Manners June 

Here Comes the Groom Jack Haloy-Patrlcia Ellis-Neil 

Hamilton-Isabel Jewell June 

His Double Life Roland Young-Lllllan Gish Jan. 

It Ain't No Sin Mae West June 

(See "In the Cutting Room," May 12.) 

Kiss and Make Up Gary Grant-Genevieve Tohin July 

Last Round-Up, The Randolph Scott-Barbara Frltchie. .Jan. 

Little Miss Marker Adolphe Menjou-Dorothy Dell- 
Shirley Temple Juno 

Many Happy Returns Guy Lombardo-Burns and Allen .Juno 

Melody in Spring Charlie Ruggles-Mary Boland- 

Lanny Ross- Ann Sothern Apr. 

Miss Fane's Baby Is Stolen. .. Dorothea Wieck-Baby Le Roy... Jan. 

Murder at the Vanities Carl Brisson - Kitty Carlisle - 

Victor McLaglen-Jack Oakle...May 

No More Women Edmund Lowe-Victor McLaglen . . Feb. 

Private Scandal Mary Brian-Phillips Holmes May 

Search for Beauty Larry ("Buster") Crabbe-lda 

Lupino Feb. 

She Made Her Bed Sally Eilers-Richard Arlen Mar. 

Shoot the Works Jack Oakle-Ben Bernie- Dorothy 

Deil-Arline Judge June 

Six of a Kind 0. Ruggles - M. Boland - W. 

C. Fields - A. Sklpworth - 
Burns and Allen Feb. 

Thirty Day Princess Sylvia Sidney-Cary Grant May 

Trumpet Blows, The George Raft - Adolphe Menjou - 

Frances Drake Apr. 

We're Not Dressing Bing Crosby - Carole Lombard - 

Ethel Merman-Leon Errol Apr. 

Wharf Angel Victor McLaglen- Dorothy Dell- 
Preston Foster Mar. 

Witching Hour, The Judith Allen-Tom Brown Apr. 

You're Telling Me W. C. Fields-Joan Marsh-Larry 

("Buster") Crabbe Apr, 

Coming Attractions 

Cleopatra Claudette Colbert - Henry Wll- 

coxon - Warren William 

Crime Without Passion Claude Rains 

Elmer and Elsie Geo. Bancroft- Frances Fuller. .. .July 

Ladies Should Listen Cary Grant-Frances Drake 

Mrs. Wiggs of the 

Cabbage Patch ..Pauline Lord - W. C. Fields - 

2aSu Pitts - Kent Taylor 

Evelyn Venable 

Notorious Sophie Lang Gertrude Michael - Paul Cav- 

anagh July 

Now and Forever Gary Cooper-Carole Lombard 

Old-Fashioned Way, The W. C. Fields July 

(See "In the Cutting Room," June 9.) 

Scarlet Express, The Marlene Dietrich-John Lodge 

She Loves Me Not BIng Crosby-Miriam Hopkins 

You Belong to Me Lee Tracy-Helen Mack July 

Running Time 
Date Minutes Reviewed 


.71 . 

.68. , 
. .78. 

.Jan. 13 

.Feb. 17 

.Mar. 10 

.Jan. 20 


4 75.... Apr 

5 78. Doc. 30,'33 



.95 Feb. 3 

.72.... Feb. 10 

22 64... June 16 

12 68. Dec. 30,'33 

29 651/2 

6 70 June 16 

26 65.... Jan. • 

' ..80. ...May 5 

8 ..60.... May 12 

20 .76 Mar. 24 

12 ..68. Dec. 23, '33 

2. . . 
9. . . 



. May 

.Jan. 20 
.Feb. 24 

13 72.. 

27 .74.. 



.621/2.. Apr. 
.64 Apr. 

.70.... Mar. 31 

.100.... Apr. 28 



Features Time 

Title Star „ , , Rel. Date Minutes Reviewed 

Chloe Olive Borden-Reed Howes Apr. I 64 

S.""!?,.- ^"'^ Nissen-Weldon Heyburn. . .Mar. I 65. . ! ! Mar.' 24 

Playthings of Desire Linda Watkins-James Kirkwood. . Mar. 15 58 



Title Star 
Ferocious Pal, The Kazan - Ruth Sullivan - Robert 

Manning Feb. 

Fighting to Live Captain-LaBy-Marion Shilling- 

Gaylord Pendleton May 

Jaws of Justice Kazan-Teddy and Richard Terry . Dec. 

Little Damozel Anna Neagle-James Rennie June 

^'•"'Inff Attractions 


Peck's Bad Boy Jackie Cooper-Thomas Meiglian- 

Dorothy Peterson-0. P. Heg- 
gie-Jackie Searl 

Running Time 
Rel. Date Minutes Reviewed 


II ... . 



Title Star 

Cockeyed Cavaliel'S Wheeler and Woolsey 

Crime Doctor Otto Kruger-Karen Morley Apr. 

Finishing School Ginger Rogers - Frances Dee - 

Bruce Cabot May 

riips. Hips. Hooray! Wheeler and Woolsey Feb. 

Running Time 
Rel. Date Minutes Reviewed 

Juno 29 72 June 16 

27 74.... Mar. 17 



July 7 , 1934 




Title Star Rel. 

Keep 'Em Rolling Walter Huston -Frances Dee Mar. 

Let's Try Again Diana Wynyard-Clive Brook July 

Life (f Vergie Winters Ann Harding-John Boles Jun'e 

Long Lost Father John Barrymore-Helen Chandler . .Jan. 

Lost Patrol, The McLaglen-Karloff Feb. 

Man of Two Worlds Francis Lederer-Elissa Landi . . . . Feb. 

Meanest Gal in Town, The ZaSu Pitts - Pert Kelton - El 

Brendel • James Gleason - 

"Skeets" Gallagher Jan. 12. 

Murder on the Blackboard James Gleason-Edna May Oliver.. June 15. 

Sing and Like It ZaSu Pitts - Pert Kelton - 

Edward Everett Horton Apr. 20. 

Spitfire Katharine Hepburn Mar. 30. 

Stingaree Irene Dunne-Richard Dix May 25. 

Strictly Dynamite Jimmy Durante - Lupe Velez ■ 

Norman Foster-Wm. Gargan- 
Marian Nixon ..June 

Success at Any Price Douglas Fairbanks, Jr.-Colleen 

Moore-Genevieve Tobin Mar. 16. 

This Man Is Mine Irene Dunne-Ralph Bellamy Apr. 13. 

Two Alone Jean Parker-Tom Brown Jan. 26. 

Where Sinners Meet Clive Brook-Diana Wynyard May 18. 

Wild Cargo Frank Buck Apr. 6. 

tJoming Attractions 

Afterwards ZaSu Pitts-Slim Summerville- 

Wm. Gaxton-Bruce Cabot Aug. 17. 

Age of Innocence, The Irene Dunne-John Boles 

(See "In the Cutting Room," June 30.) 

Bachelor Bait Pert Kelton-Stuart Erwln July 20. 

Down to Their Last Yacht Sidney Blackmer - Sidney Fox.. Aug. 3. 

(See "In the Cutting Room," May 19.) 

Fountain, The Ann Harding - Brian Aherne - 

Paul Lukas 

(See "In the Cutting Room." June 23.) 

Gay Divorce, The Fred Astaire-Ginger Rogers 

Green Mansions Dolores Del Rio-Joel McCrea 

Hat, Coat, and Glove Ricardo Cortez-Barbara Robblns. Aug. 27. 

(See "In the Cutting Room," June 9.) 

His Greatest Gamble Richard Dix-Dorothy Wilson Aug. 10. 

Of Human Bondage Leslie Howard-Bette Davis July 27. 

(See "In the Cutting Room," Apr. 14.) 

We're Rich Again Marian Nixon - Billie Burke - 

Reginald Denny - Buster 

Crabbe - Edna May Oliver.. July 13. 

Running Time 
Date Minutes Reviewed 

2 691/2.. Feb. 10 

6 67 June 30 

22 82 June 23 

19 63 Feb. 24 

16 75. ...Feb. 3 

9 961/2.. Jan. 20 

.67. . , 

. Mar. 


.Apr. 21 
. Feb. 24 
.May 12 

1 741/2.. May 

.74. . 

.May 12 

.Apr. 21 

.Jan. 20 

.Apr. 28 

.Mar. 31 


.83. . . 

*75 June 23 



Title Star Rel- 

Beyond Bengal Harry Schenck H"" 

Big Race, The Boots Mallory-John Darrow ..uec. 

Moth, The Sally O'Neil-Paul Page ..Jan. 

St. Louis Woman John Mack Brown-Jeanette Loff...Apr. 

Coming Attractions 

Golden Head 

Souls in Pawn 

Special Duty 


Within the Rock Lila Lee-Creighton Chaney 

Running Time 
Date Minutes Reviewed 

2 72 Apr. 28 

l,'33 71 

15 63 

15 68 



Title Star 

Are We Civilized? William Farnum... 

Arlane Elizabeth Bergner - 

Percy Marmont... 

Criminal at Large Emiyn Williams- 

Cathleen Nesbitt. 

Death Parade, The (War Film) 

Enlighten Thy Daughter. .. Beth Barton-Miriam 

Film Parade 

Found Alive Barbara Bedford 

Get That Venus Ernest Truex-Jean 


Hell on Earth All Star 

Hitler's Reign of Terror 

Le Gong (Dance of the 


Lost Jungle, The Clyde Beatty 

No Funny Business Gertrude Lawrence- 
Laurence Olivier. . 

Sweden, Land of the 


Through the Centuries 

Unknown Soldier Speaks, 


War's End 

White Heat Virginia Cherrill- 

Mona Maris- 
Hardie Albright. 
Wine, Women and Song. .Lilyah Tashman-Lew 


Woman Condemned Claudia Dell 

World in Revolt, The 

Running Time 
Dist-r. Rel. Date Minutes Reviewed 

Raspin 70 June 23 

Blue Ribbon 
Photoplays Mar. 6 69 Apr. 7 

Helber Prods Dec. I5,'33...67 Jan. 

Henry Zapp 77 Feb. 

Exploitation Picts . .Jan. 15 80. Dec. 30.'33 

General Pict». Jan. 12 55 • 

Ideal Feb. 10 56 Feb. 24 

Regent Pictt 

Aeolian Picts Jan. 27 70 Feb. 

Jewel PrdSs Apr. 30 67 May 

Bennett Picts 55 Jan. 

Mascot May I 7 rls 

Ferrone Prods Mar. 7. .. 


Cinemas ..... . Jan. 3 

Beacon Films Dec. I.'SS. 

.70 Jan. 13 

.70. Dec. I6,'33 

Lincoln Prods 67 June 2 

Capital 28 May 26 

J. D. Trop. 

July 15. 

.62 June 30 

I. E. Chadwick 70 Dec. 23,'33 

Marcy Picts Apr. 4 66 

Mentone 69 June 16 



Title Star Rel. 

Born to Be Bad Loretta Young-Cary Grant May 

Catherine the Great Douglas Fairbanks, Jr.-Eliza- 

beth Bergner Apr. 

Gallant Lady Ann Harding-Cllve Brook Jan. 

House of Rothschild, The George Arliss Apr. 

Looking for Trouble Spencer Tracy - Jack Oakie - 

Constance Cummings Mar. 

Moulin Rouge Constance Bennett - Franchot 

Tone - T. Carminati Jan. 

Nana Anna Sten-Lionel Atwill-Phil- 

lips Holmes Mar. 

Palooka Jimmy Durante-Stuart Erwin- 

Lupe Velez Feb. 

Sorrell and Son H. B. Warner Apr. 

Comina Attractions 

Affairs of Cellini, The Fredric March-Constance Ben- 
nett-Frank Morgan-Fay Wray .Aug. 
(Reviewed under the title "The Firebrand") 

Bulldog Drummond Strikes Back Ronald Colman-Loretta Young... July 

Count of Monte Cristo, The... Robert Donat-Elissa Landi 

Kid Millions Eddie Cantor ■ Ann Sothern- 

Ethel Merman 

Last Gentleman. The George Arliss 

Nell Gwynn Anna Neagle-Cedric Hardwicke 

Our Daily Bread Karen Morley-Tom Keene 

(See "In the Cutting Room," May 19.) 

Private Life of Don Juan, The. Douglas Fairbanks, Sr 

Scarlet Pimpernel, The Leslie Howard 

Transatlantic Merry-Go-Round . Jack Benny - Gene Raymond - 

Nancy Carroll -Sydney Howard 

We Live Again Anna Sten-Fredric March 

Running Time 
Date Minutes Reviewed 
18 61 June 9 

13 93 Feb. 10 

5 82. Dec. 9, '33 

6 .86 Mar. 10 

9 77... Feb. 3 

19 70. Dec. 23, '33 

2 88 Jan. 13 

16 86 Jan. 27 

20 85 Jan. 6 

.79 Apr. 21 


. May 

. May 



Title Star Rel. 

Affairs of a Gentleman Paul Lukas - Leila Hyams - 

Patricia Ellis May 

All Quiet on theWestern Front. . Lew Ayres Apr. 


Beloved John Boles-Gloria Stuart Jan. 

Black Cat, The boris Karloff-Bela Lugosi-David 

Manners May 

Bombay Mail Edmund Lowe-Onslow Stevens- 
Shirley Grey Jan. 

Countess of Monte Cristo Fay Wray-Paul Lukas Mar. 

Crosby Case, The Wynne Gibson-Onslow Stevens- 
Alan Dinehart Mar. 

Cross Country Cruise Lew Ayres - Alice White - June 

Knight Jan. 

Embarrassing Moments Chester Morris-Marian Nixon July 

Glamour Constance Cummings - Paul 

Lukas Apr. 

Half a Sinner. Joel McCrea-Sally Blane Apr. 

Honor of the Range Key Maynard Apr. 

I Give My Love Wynne Gibson-Paul Lukas June 

I Like It That Way Gloria Stuart-Roger Pryor Feb. 

I'll Tell the World Lee Tracy-Gloria Stuart Apr. 

Let's Be Ritzy Lew Ayres-Patricia Ellis Mar. 

Let's Talk It Over Chester Morris - Mae Clarke June 

Little Man, What Now? Margaret Sullavan - Douglass 

Montgomery June 

Love Birds, The Summerville-Pitts Mar. 

Love Captive, The Nils Asther-Gloria Stuart May 

Madame Spy Fay Wray-Nils Asther Jan. 

Midnight 0. P. Heggie-Sidney Fox Jan. 

Poor Rich, The Edna May Oliver-Edward Ever- 
ett Horton Feb. 

Smoking Guns Ken Maynard-Gloria Shea June 

(Reviewed under the title "Doomed to Die.") 

Uncertain Lady Genevieve Tobin-Edward Everett 

Horton Apr. 

Wheels of Destiny Ken Maynard Feb. 

Coming Attractions 

Gift of Gab Edmund Lowe - Gloria Stuart - 

Alice White 

Human Side, The Adolphe Menjou-Doris Kenyon 

Imitation of Life Clauderte Colbert 

Million Dollar Ransom Mary Carlisle - Edward Arnold- 
Phillips Holmes 

One More River Diana Wynyard - Colin Clive - 

Frank Lawton - Mary Astor - 

Reginald Denny 

(See "In the Cutting Room," June 9) 

Romance in the Rain Roger Pryor - Heather Angel - 

Esther Ralston- Victor Moore 

There's Always Tomorrow (T.). Frank Morgan-Elizabeth Young- 
Lois Wilson-Binnie Barnes 

(See "In the Cutting Room," June 9) 

Running Time 
Date Minutes Reviewed 

14 66 May 12 

2 84. Apr. 26,'30 

22 82. Dec. 23, '33 

.May 26 

19. . . 

.68 Jan. 

.78.... Mar. 

5 60 Apr. 7 

.77 Jan. 27 


9 74.... Apr. 

30 781/2.. Apr. 

16 61 May 

25 69 

12 67 

16 76 

26 68 

II 69 


June 2 
Apr. 28 
Apr. 14 
Mar. 17 


.61 . . 
.70. . 

.65. . 

.May 26 

.Apr. 21 

.June 16 

.Jan. 6 

.Mar. 17 


23 65 June 30 

19 64 Apr. 14 



Title star 

As the Earth Turns Jean Muir-Donald Woods 

Dr. Monica Kay Francis-Warren William... 

Easy to Love Adolphe Menjou - Mary Astor - 

Genevieve Tobin 

Gambling Lady Barbara Stanwyck 

Harold Teen Hal LeRoy - Rochelle Hudson - 

Patricia Ellis 

He Was Her Man James Cagney-Joan Blondell 

Heat Lightning Aline MacMahon-Preston Foster- 
Ann Dvorak-Lyle Talbot 

Hi, Nellie! Paul Muni 

I've Got Your Number Joan Blondell-Pat O'Brien 

Jimmy the Gent James Cagney-Bette Davis 

Key, The Edna Best - William Powell - 

Colin Clive 

Merry Wives of Reno Glenda Farrell-Margaret Lind- 
say-Donald Woods 

Modern Hero, A Richard Barthelmess 

Personality Kid, The Pat O'Brien-Glenda Farrell... 

Smarty Joan Blondell-Warren William.. 

Upper World Warren William - Mary Astor- 

Ginger Rogers 

Coming Attractions 

Case of the Howling Dog, The. Warren William-Mary Astor 

Dames Ruby Keeler - Dick Powell - 

Joan Blondell 

Dragon Murder Case, The Warren William 

(See "In the Cutting Room," June 23.) 
Flirtation Walk Dick Powell-Ruby Keeler-Pat 


(See "In the Cuttinn Roonij" June 30.) 

Friends of Mr. Sweeney Charlie Ruggles-Ann Dvorak... 

(See "In the Cutting Room," May 5) 

Gentlemen Are Born Dick Powell-Margaret Lindsay.. 

Here Comes the Navy James Cagney • Pat O'Brien - 

Gloria Stuart 

Housewife George Brent-Bette Davis 

Lady Surrenders, A Jean Muir-George Brent 

Lost Lady, A Barbara Stanwyck 

Madame Du Barry Dolores Del Rio-Victor Jory 

Running Time 












65. . 

. May 








31 . 













. May 













































. May 







July 28. 

.July 21. 

July 14. 



Title Star Dist'r 

Adieu Les Beaux Jours ... Brigitte Helm - Jean 

Gabin Ufa 

Autumn Crocus Ivor Novello-Fay Associated Talk- 

Compton ing Pictures.. 

Cities of the Desert L. M. B. Films 

End of the World, The... Victor Francen- 

Collette Darfeuil .. Harold Auten... 
How's Chances? Tamara Dean-Harold 

French Fox-British 

Lash, The Lyn Harding- 
John Mills Radio 

Passing Shadows Edmund Gwenn- 

r'arry Mackay ...Fox 

Petterson and Bendel Adolf Jahr-Sammy Scandinavian 

Friedmann Talking Picts. 

Pledge, The Line Noro - Jean 

Galland Protex 

Red Wagon Charles Bickford - 

Raquel Torres - 

Greta Nissen British Int'l .. 

Return of Bulldog 

Drummond Ralph Richardson ..British Int'l 

Saint Anthony of Padua. . .Carlo Pinzauti Integrity Film.. 

Secret of the Loch, The. . .Seymour Hicks- Associated 

Frederick Peisley. British Films. 
Turkey Time Tom Walls - Ralph 

Lynn Gaumont-British. 

Two Orphans, The Yvette Guilbert - 

Rosine Derean - 

Renee Saint-Cyr. . Blue Ribbon 

Photoplays . . . 

Volga Volga H. A. Shiletton Kinematrade ... 

Wild Boy Mick the Miller Gaumont-British. 

Running Time 
Rel. Date Minutes Reviewed 

• Apr. 21 100 May 19 

.Apr. 12 54. 

.Jan.. I .148. 

.Mar. 13 96. 

.Apr. 14 

.May 26 

Apr. 28 

■June 30 

.May 19 

May 19 

.Mar. 10 

.Mar. 24 

.Feb., 8 90. 

.Feb.. 6 92. 

.Dec. I4,'33. .76. 

.June 16 

Feb. 17 

.June 16 

.Mar. 24 

. Feb. 24 
.Jan.. 6 
.May 19 



July 7 , 1934 



I All dates are 1934 unless 
otherwise stated"} 


Title Rel. Date Min. 


Jack and the Beanstalk Dec. 23,'33..8 

The Little Red Hen Feb. 16 7 

The Brave Tin Soldier Apr. 7 7 

Puss in Boots May 17 Irl.. 

The Queen of Hearts June 25 7.... 

Aladdin July 30 1 rl.. 



Title Rel. Date 

Elmer Steps Out Feb. 28 20 

Walter Catlett 

Fishing for Trouble May 4 2 ris. 

Get Along Little Hubby.. June 15 2 rIs. 

Hold Your Temper Dec. I5,'33.20 

Leon Errol 

Plumbing for Gold June 29 2 rIs. 

Sidney and Murray 

Radio-dough Feb. 5 2 rIs. 

Sidney and Murray 

Stable Mates Apr. 6 2 rIs. 

When Do We Eat? Mar. 19 2 rIs. 

Ten Baby Fingers Jan. 26 2 rIs. 

Sidney and Murray 


Autograph Hunter Jan. 5 I rl . . 

Busy Bus Apr. 20 I rl . . 

Bowery Daze Mar. 30 I rl.. 

Cinder Alley Mar. 9 I rl. . 

Curio Shop, The Dec. 15, '33.. 7 

Masquerade Party May II I.rl.. 

Southern Exposure Feb. 5 Irl.. 

Tom Thumb Feb. 16 I rl.. 



3 — In South America Dec. 22,'33. . I rl . . 

4 — Among the Nordics Feb. 20 I rl.. 

5— In India Apr. 20 I rl .